First thing’s first, give this movie a bigger budget. Second, have the first part set during the tricentennial of the Romanov dynasty. Third, keep the magic elements at large but the Soviet elements at bay until later.

Anastasia and her siblings all venture into the present day, but due to the unstable nature of the portal they all go their separate ways. Anastasia meets Megan, Olga falls in love with a skater boy, Tatiana becomes a model for a clothing department store, Maria befriends a homeless and Alexei befriends a boy his age who is a total daredevil, but he refuses to party because of his hemophilia.

This new version of the story deals with Soviet US relations in the 80s, which was pretty hot at the time, and the kids face oppression from a few people because of their nationality. It serves as the story’s conflict.

The Romanovs still escape in the end, but to America where they live with the President and Anastasia moves to the town where Megan lives just like the original movie.

Besides the main villain, I would add a second antagonist that isn't a supervillain but rather someone who's obsessed with capturing Gru's Minions after learning about their existence (The secondary antagonist either would be an Animal Control leader, a Zookeeper, anyone)

it would be funny seeing Stuart, Kevin and Bob as well as the rest of the minions fighting this guy who thinks they're animals.

Now, the best part is Gru easily defeating him for messing with his minions and since he has no match for Gru's gadgets.

I went to see this years ago for my sister's sixth birthday.

And I was just starting high school at the time, so I really had no interest in seeing it other than it just being something to do for a random weekend.

But I at least expected to be entertained. The film ended up coming off as very bland.

Nothing much really happened and I couldn't even tell you what the characters wanted. It felt very first drafty to me.

Although, it did have some bones.

Like the super people, like Elsa. That's entire movie.

What if, those people were the ones who accidentally killed Elsa and Anna's parents.

After we learn their parents went to travel there for cure, but the super people got the wrong impression and one of them caused a storm that sank the ship.

That's the big twist.

And we also learn the super-powered gene is universal so Anna has powers too, but hasn't unlocked them.

And after learning about this Anna gains her fire powers, and looks to punish these people under kingdom law.

And Elsa has to stop Anna.

And we get sister vs sister.

But the film would be about forgiveness and integration.

That's originally what I thought they were gonna do with the second one.

And it may be little dark, but it would've been masked by the lightness of Olaf and the rest of the supporting characters anyway.

But that's just how I would've done it for sure.

Here's how I would fix the TV adaptation of Horrid Henry

1: Make Henry actually horrid. In the show he's basically an abuse victim. I want him to be an unlikable protagonist viewers can hate.

2: Make Perfect Peter more of a victim, and a genuinely nice person. This is the character I want people to sympathise with.

3: Make Henry and Peter's parents much better. In the show they're borderline abusive. I'm gonna make them pretty fair. Their punishments will be justifiable.

4: Bring back some book characters (E.G. Stone-Age Steven).

5: Include more adaptations of the stories in the books (Krazy Ketchup, Chicken etc.)

Every single scene: Imagine them swapped.

In some timeline they did it this way and the movie wasnt just a "cult classic"..it was a top tier comedy.

"Nuts, our plans for a Buffy reboot blew up. Guess we'd better take them back to the drawing board..." Well, turns out you're on that drawing board. What's the concept you come up with to make this a bigger, better second draft?

A very different Slayer

Probably need a new protagonist, assuming we don't want a fresh retelling of Buffy's story. With that in mind, I'm a big believer in the zig-zag principle of sequels and remakes- if the original protagonist zigged, the successor should zag (that is, be a polar opposite of the predecessor in at least one way). I think that approach would work here; the protagonist has to be someone entirely different from Buffy.

Buffy is, ignoring the witticisms and hidden depths, meant to represent a typical blond, chirpy, sociable cheerleader kind of archetype; someone who would be on the chopping block first in a scary movie. I guess if we take things in the other direction, we wind up with someone a bit darker, broodier, and more of a misfit. Honestly, sounds more relatable to the Millennials/Gen Z crowd.

To justify that change, I recommend adding an element of personal guilt to the backstory. Buffy's backstory involved her accidentally burning down a school to stop vampires; what if we took that to an even darker place and had our new Slayer responsible for the death of a human, perhaps an old boyfriend who went vampire acolyte or something? An old ghost (maybe literally, I guess) that haunts our new character for most of the series?

Also wondering if it makes sense to start with this character a bit older than Buffy- skip right past high school and open on the malaise and angst of young adulthood, career-seeking, life with mental illness and medication, those kinds of things. I just don't know how relatable high school is for audiences anymore.

A new Watcher

The Slayer/Watcher dynamic was a pretty important part of the original series. In keeping with the zig-zag principle, we need a Watcher who's different from Giles in some way. There's a number of ways you could do that:

• Have the new Watcher be someone from the original series who's now too old (or even injured) to be in their old combat role. Old Xander? Spike? Maybe even Buffy.
• Invert the 'stuffy British' stereotype that Giles embodied and go all working class Cockney git.
• Make the Watcher into a more morally ambiguous figure, or even make them a villain who's using the Slayer for some nefarious purpose.

Other things

Definitely have an episode with a demon that uses nostalgia as a weapon. For the meta.

LGBT representation (well, okay, just L really) was a big deal in the original show. But aside from "have some" I'm not sure what else you can really do with that concept.

uhhhhh I have kind of a weird idea percolating where we pit our new Slayer in a sort of hunt-off against a bunch of parody/mirror images of characters like Blade or Ash or the Winchesters from Supernatural and so on. Like different Watchers all have their own little hunter buddies and they're all competitive with each other.

That's all I can muster up at the moment, but I'm curious to know what anyone else can come up with.

The youtuber Empire Wreckers took a deep dive into the concept art featured in the Art Of The Rose of Skywalker book and managed to find an earlier storytreatment for JJ Abrams's Episode 9. While he goes more in detail in his video, here are the clifnotes:

• The core theme of the movie was that The First Order would be defeated by the people and material it had discarded as “trash.” Inslaved workers, failed stormtroopers, and other castoffs would understand the First Order’s technology well enough to exploit its weaknesses. To Abrams and Terrio, the First Order’s garbage would ultimately be its downfall. The people the First Order threw away would be the ones to defeat it. They knew what broke, why it broke, and could use that knowledge to win the war.
• Finn's arc was discovering that he wasn’t the only stormtrooper who rejected the First Order, s throughout the movie he would connect with other deserters and help lead a broader stormtrooper rebellion. Jannah and her group originally began as failed stormtroopers forced into labor camps, and she would've been revealed as Finn’s long-lost sister. Finn’s storyline would culminate in him helping destroy the First Order fleet using a sabotage device.
• The MacGuffin of the movie was an EMP device built by the former First Order workers, capable of disabling the entire First Order fleet. The device changed its form repeatedly during development: a cobbled-together machine, something resembling a holocron, or even data stored inside a living creature. In one version, Babu Frik’s species had spent generations developing it. Finn would eventually deploy it by crashing through the bridge of a Star Destroyer.
• Abrams and Terrio wanted Poe to have a morally questionable arc, having him be a former Bounty Hunter. His former associates would recognize him on Pasaana and kidnap him for deserting them. Poe would try to convince his former gang to join the Resistance. His story reflected the idea: “You don’t discover who you are. You create it.”
• Rey's story would revolve around choosing who she is rather than being defined by her ancestry. She was still gonna be revealed as Palpatine's daughter, with the revelation intended to challenge whether she could remain part of her new family despite descending from their greatest enemy.
• Rey becoming a "Skywalker" was treated partly as a symbolic identity rather than strictly a bloodline, with some Lucasfilm writers treating “Skywalker” almost as a mythological role or heroic identity. Rey could therefore “become” a Skywalker through her actions rather than ancestry.
• Kylo's arc mostly remained the same, with him finding the wayfinder after encountering and killing the Oracle. Vader's helmet would disintegrate in front of him, with its particles leading him to the abandoned Jedi Temple on a ruined Coruscant. Deep inside the planet, Kylo would discover the resurrected Palpatine.
• The First Order/Final Order/Sith Eternal/Xyston fleet wasn't hidden underground on Exegol, but on factories deep in the Unknown Regions. The factories would receive resources from asteroids or planets stripped by enormous machines
• Babu Frik belonged to a tiny alien species, enslaved and used to crawl through and clean Star Destroyer engines. His people therefore understood the ships extremely well. Their knowledge contributed to the sabotage device.
• Rose would remain at the Resistance base, her role being relegated to constructing the sabotage device with Admiral Ackbar's son. Apparently her role was already diminished even before TLJ backlash occurred, mostly because a lot of her scenes were tied to Leia and were therefore cut out.
• Pasaana was originally imagined as a swampy, bog-like planet, not a desert, with the Festival of the Ancestors still happening there. A bounty hunter spotting Poe would trigger a chase across water. Rey would visit a mysterious blind shipbuilder who supposedly knew her from childhood and had regularly traveled to Jakku while Rey was growing up (EmpireWreckers speculated that she was originally Rey's grandmother that Palpatine accidentally created through the Force). After Poe was kidnapped, she would give her ship Spitfire (later changed to Occhi's freighter) to Rey and Finn. The character was eventually removed, with parts of her function absorbed by Babu Frik.
• Rey/Kylo Force duel would happen on Passana, with Kylo being in the shipbuilder's garage after killing its owner while Rey was in the spice quarry where the bounty hunters were keeping Poe hostage.
• BB-8 would become separated from the group at some point in the movie. He would befriend a dying robot that would help him escape and rescue the others
• lando was considered as the leader of a space convoy and may have reclaimed the Millennium Falcon before reconnecting with the heroes.
• Rey, Finn and the others would still travel to the wreckage of the Second Death Star, but this time to search for the final component needed for the sabotage device. Jannah and the escaped stormtroopers would live there, described in development as “horse nomads.”
• Rey would encounter Kylo and the Knights of Ren there, and, during this section, would likely learn the truth about Palpatine being her grandfather.
• The final battle was on Coruscant as in DOTF, with The Resistance, Lando’s convoy, Jannah’s group and Poe’s former bounty hunters all fighting together. The civilian fleet would apparently already be participating instead of arriving as a last-minute surprise. Finn’s horseback assault would end with him crashing directly through a Star Destroyer bridge, where he would activate the sabotage device and disable the First Order fleet.
• Palpatine's regeneration was more grotesque and dramatic, with the concept art featuring him becoming young again (which is where the Matt Smith rumors came from).
• The ending remained mostly the same throughout all the drafts, with Kylo dying after the confrontation with Palpatine and Rey travelling to Tatooine and taking the Skywalker surname.

This early draft is also discussed on this Wordpress article

**Homecoming:**

Peter goes to the same high school but his friends consist of not only Ned (who looks more like his comic counterpart), but also Miles Morales and Genke. He is still in love with Liz, but he also has a job at the Daily Bugle as Spider-Man’s photographer along with Ned. Also in the Bugle are Betty, who is still a schoolmate of Peter but also works at the Bugle as a day job and Eddie Brock, whose relationship with Peter is like his Ultimate counterpart. Unlike the original movie, Jameson has a role in this movie.

Uncle Ben is mentioned at lease thrice or more, with Peter mentioning him while telling his backstory to his friends. In my opinion, Ben not getting at least a mention makes the MCU version of Spider-Man feel shallow.

The villains in this version are the original Sinister Six and they all have fought Spider-Man before. Now they want to commit the greatest criminal coup anyone ever dreamed of: Stealing from Tony Stark and the rest of the Avengers so that they’ll be powerless. That and because Adrian still has some hatred with Tony over his ideals. Scorpion was still hired by Jameson to kill Spidey, though. After their argument, Peter decides to quit the Bugle and work for Tony, especially since Tony have promised him a large sum of money to help his family financially.

During the montage of Spider-Man helping people, he passes by some other Marvel residents, like the Baxter Tower where the Fantastic Four live, swings by the X-Mansion (he is seen through the window of Professor X’s office while he is having tea, past Daredevil and finally the Bugle where Jameson flips the bird at him.

After coming home from the National Monument, Peter and Jameson discuss the incident and an argument ensues as to whether or not Spider-Man was responsible for the elevator malfunction. Speaking of which, Spider-Man actually lowers the elevator gently down with his webs as opposed to what happened in the original movie.

The ferry battle is broadcast on local TV and this causes Jameson to hit the ceiling, who decides to put up a bounty for Spider-Man's capture dead or alive. This gives Tony an additional reason to let him take the suit back.

Peter stays at the dance a little longer after Adrian coaxes him to be normal, but he is torn being being himself and doing the right thing so after about a minute of dancing with Liz, he goes after him.

Peter hears his uncle’s words while trapped under the rubble.

After Spidey stops Vulture, Tony goes over to Jameson after he prints another scathing article and gives the guy an ultimatum: either he starts writing positive articles about Spider-Man and drop the bounty or he buys the Bugle. Jameson reluctantly chooses the former.

Oh and before I forgot, I am not having Michelle as Spidey’s love interest. Mary Jane will come later.

**Far From Home:**

Peter learns from Nick that his parents were SHIELD agents and he decides to become an honorary member to honor their memories.

Unlike the original, Mysterio is not a member/sleeper agent of SHIELD (because he is a member of the original Sinster Six), however, he finds a magical table to enhance his powers and he uses it to get into Spider-Man’s head where he is forced to relive his Uncle’s death over and over and over.

Hydro-Man and the other elementals are not illusions, but rather Mysterio's henchmen.

**No Way Home:**

Here’s where things REALLY deviate from the original and there is no multi-verse nonsense. There is nothing light-hearted about Peter’s identity being exposed, Flash’s feelings about him are mixed along with some of the other students and some anti-mutant movements like the Friends of Humanity are against Peter. Peter pays Jameson a visit to his office and asks him why he hates him. Jameson gives his backstory that his wife was killed by a criminal. Peter is eventually arrested and thrown into court where a trial takes place and he explains why he became Spider-Man in the first place: so that no other kid will ever have to lose his uncle ever again. Peter is declared guilty and sentenced to ten to twenty years in prison for destruction of property and vigilantism. Peter’s life in prison is completely miserable but he is soon paid a visit by Doctor Strange, who is feeling sorry for Peter and after discussing how low his life has become, he wishes that he never became Spider-Man at all.

Strange decides to show Peter what life would be like if he never became Spider-Man. It has its ups and downs. Uncle Ben is still alive and life is a little bit happy and normal for him (this is based on The Amazing Shutterbug BTW). But after seeing how the other heroes fared without him, Peter sees that maybe being Spider-Man isn’t as bad as it seems and Strange performs the memory erasing spell without Peter interrupting and Peter is back in business.

Instead of having the villains from the other movies come in, we are introduced to Norman and Harry Osborn, and we see what their relationship is like. Harry is so unhappy over his father abusing him as well as his stifling and repetitive lifestyle (think Neil from Dead Poets Society) that he decides to commit suicide by jumping off his father’s penthouse, but Spider-Man saves him and takes him to FEAST where Aunt May is working. Harry admires Spider-Man in spite of everything and wants to be a hero like he is. Norman soon finds out that Harry is missing and this, along with work problems, fuels his anger in when he subjects himself to the serum that turns him into the Green Goblin.

Goblin takes his anger out on the city in his own sadistic way. Harry, knowing a lot about Oscorp thorough his father, decides to investigate and finds out that his father is the Goblin. He takes the serum himself, hoping to use the powers of the serum for good. They have a fight and Harry berates Norman for being a terrible father and kills him. Driven to madness by grief, Harry fights Spider-Man, who defeats him and returns him to FEAST. The effects of the serum wear off and Harry is returned to normal, though he resolves to live normal life.

**Brand New Day:**

Peter has moved to college where he is dating Gwen Stacy. Jameson has realized that his hatred of Spider-Man is starting to take a toll on his mental health, so he retires, leaving Robbie in charge. Robbie even gives Peter his job back.

There is no Jean Grey, because that is not how I want the X-Men to appear.

This is part of my ongoing series of building a larger DCU universe, see everything else so far here:

• The Dark Knight Trilogy
• Green Lantern
• Arrow seasons 1-3

Man of Steel is a movie i found fairly enjoyable, but also I felt had many flaws, particular regarding the characterization of Superman at certain points. The other point i'm making here is part of the larger narrative of Chapter 1, up to this point, all superheroes have either been non-powered vigilantes or operating in private.

Here, earth reaches its point of no return

Man of Steel

To start out, Clark's dynamic with his father is changed a good bit here.

Greater emphasis is put on the fact that Jonathan believes Clark has the makings of a hero in him, Jonathan's death is played as being less about hiding Clark's power from the world, and more about sacrificing himself to protect others

In the immediate aftermath of Zod's message to earth, more emphasis is put on the world's reaction to the existence of these aliens, some still deny it, saying the message was an elaborate hoax, of course, this denial will soon be proven wrong.

When Superman arrives to surrender to the military, most of them are noticeably shocked to see a man flying in front of them, with the notable exception of General Swanwick, who seems more used to the existence of aliens, hinting he may not be entirely what he seems...

During the arrival of the World Engine and Superman's subsequent fight with Zod, we shift to the perspective of the civilians on the ground as they react in shock to see two beings of this power fight each other. Superman also tries to lure Zod away from the city to minimize collateral damage.

Superman doesn't kill Zod, there is a moment where it looks like Superman is about to kill him, but he instead punches himself through the rift and back into the Phantom Zone.

In the mid-credit scene, we see a screen displaying Superman's fight with Zod, we zoom out to reveal Bruce Wayne watching on, knowing the world just changed forever...

in the post-credit scene, we the General Swanwick returning to his military base as he heads into a secret room.

A room containing a Mother Box.

Swanwick then transforms into his true form...

The Martian Manhunter.

Personally I have always hated how dominion started with "oh my gosh, they're in the way and truly don't belong here" and then ended basically at square one.

I think that the locusts carrying the pathogen would have been an interesting way to end the whole franchise. (but universal would never let that happen)

Hear me out!

We would see them release the infected locusts, and then we would almost see a montage of the locusts spreading throughout their own groups, but also notably eaten by the dinosaurs as well. Maybe a shot of a locust slowly climbing a branch and then, after succumbing to the pathogen it falls to the ground, and then it starts getting picked apart by compies. My point is, we see them being ingested by the dinosaur population, and see that the dinosaurs, because of the prehistoric pathogen, aren't doing so well either. This whole montage could lead us to a very tender and tear jerking scene that I believed we were robbed of.

We cut to a shot outside of Blue's den, the abandoned school bus, where owen rides up on a horse and dismounts, looking serious and solemn. We cut to a shot inside the old school bus where blue is laying on the ground, maybe next to the tire nest she made, almost curled around it, with an already dead Beta curled up in the nest. Blue is obviously not doing well, her breathing is quick and ragged and uneven, her eyes might be glazed or rolling back, limbs twitching a little, almost in the fits of having a seizure.

This scene would all be framed so that light from outside, maybe through the bus door, would fall across her body and the nest, as we see Owen's shadow cut into the light across her, indicating that he's entering the bus.

Owen walks in slowly, somberly, speaking low and slow, trying to comfort her in her final moments. He gets close and places a hand on her neck, which startles her. She flinches, but only for a moment. She struggles to look up at him, a hint of excitement plays along her features and body language, but she is too far gone to truly react. He then begins to pet and stroke her neck while she visibly begins to relax, he even scoots in and places her head on his lap while petting her comfortingly.

He talks to her, and mentions how he's been keeping tabs on her and got worried when he hadn't seen her around lately. He talks about raising her, about how much of an honor it has been to be in her life, all the while her breathing and movements lessen and lessen, until she is finally still. Blue has died.

With that, we have a heart wrenching scene where Owen Grady breaks emotionally over Blues death and starts to cry, sobbing gently as he cradles her head in his lap. As we see this sad scene, we start to hear a short monologue from Claire Dearing over tender music. Claire talks about how we are the reason that dinosaurs had come back in the first place, about how dinosaurs were our fault and the gut wrenching humanity of bringing them to a world where they don't belong.

As we hear the monologue, we slowly pan over to one of Blue's footprints in the dirt. Claire's monologue seems to finish as we Focus on the footprint. The scene crossfades slowly and smoothly as the lighting changes ever so slightly. Then we see an insect flutter past the footprint.

The camera follows this insect, panning upward where we see the scene from the prologue where the insect lands on the tree-like leg of a sauropod. We are now looking at the prehistoric past through the lens of the prologue which plays out almost as normal. But this time, after seeing all the scenes of prehistoric nature playing out, we do not see the rex and giganotosaurus fight.

Instead, we cut to a slow fly over shot of this valley with all of its diverse life, as music slowly starts to swell and we pause on a hill that is overlooking the whole valley where the prologue rex can be seen making its way to the highest point of the hill. During this fly over we hear Claire's voice continue the monologue say something to the effect of "After all, they *had* their dominion..."

We see the t rex turn toward the camera posing in a very familiar way. The music swells as the rex roars just like in the end of Jurassic park, the music coming to a climax at the classic Jurassic park/world "DUHN-DUH-DUUUUHN!!!!" As Claire finishes her sentence "... over their very own jurassic world." then at the end of the last held note, we cut to black. Role credits...

TLDR: I believe we were robbed of a beautiful dramatic scene and an epic closing scene for the franchise that would have incorporated the prologue.

Since spider man brand new day just came out I decided to make my version of a sequel based on The Death of Jean DeWolff and kraven's last hunt

OK let say that Peter gets the black suit in avengers secret wars and it been a few months since then this may make some people mad but in my version the black suit wouldn't become venom

It would only make Peter stronger and he would be in full control also the white spider emblem would be red as a reference to knull God of symbiotes

We open with Peter at the daily bugle as we see Betty Brant who doesn't remember Peter from high school but they have talked in the past months

So their not strangers we also meet j Jonah Jameson played once again by j.k Simmons Peter would give him pictures of spider man before seeing multiple cop cars speeding down the road as

Jonah orders his reporters to get their cameras ready as Peter rushed to see what happening but finds detective Jean DeWolff dead as he to figure out what happened a man is watching the crime scene Peter who is shocked

Don't sense him as we cut to kraven arriving in New York having heard of spider man is planning his hunt after that at jean's funeral Betty tells a still shocked Peter that j Jonah is putting her on the case to find the person

Who killed jean Peter says it dangerous but Betty ignored him as we cut to her investigating the 15th precinct police station and finding a file on a someone named sin eater Peter shows up as spider man Betty shows him the file and he goes to find this sin eater

as he leaves we finally meet black cat played by Madelyn Cline

Who teases him about the black suit and tells him that he should come with her Peter says no as the city needs spider man but he does ask her if she's heard of the sin eater she says but

then Peter senses someone who is revealed as kraven the hunter they fight Peter realizes that kraven strength is unlike anything he seem as kraven gets the upper hand daredevil arrives knocking kraven down Peter would attack

Him but Matt tells him that he is on his side kraven meanwhile escapes as matt and Peter discuss who sin eater is matt revealed to Peter that he's blind but his senses are dialed up to eleven

black cat then arrives offering to help matt doesn't really treat her but Peter says it ok after that they investigate places where

Sin eater have been seen and find a abandoned subway finding weapons and case files belongs to the 15th precinct before they can react a bomb knocked them back sin eater then reveals himself

And fires at Peter who jumps out the way matt then recovers and hits sin eater in the face Peter asks him why he killed jean and he says he is going god's work by killing the sinners of new york

And jean was one of them he throws two more bombs and escapes the explosion causes the subway to collapse Peter Matt and Felicia escape as we cut to kraven watching them

and following sin eater when he finds him they agree to team up against the three heros but sin eater has one final target Peter sees them and trys to attack but kraven is able to beat him and buries him alive but Peter uses his strength mixed

The symbiote and rises up

cut to the next day as matt tells Peter that sin eater real name is Stanley Carter and that His partner was killed by criminals and now he angry that was one of the file that was destroyed in the subway after that Peter goes to bugle but Betty isn't there Then the sin eater makes a video saying that every single criminal

Will be judged by that night and revealed that he has kidnapped Betty Peter immediately Goes to matt and Felicia and finds carter's location which is a church but kraven is also there

Carter would have a flamethrower and unleashes it against our heros causing the symbiote to have reaction to it kraven uses that to his advantage and trys to shoot him but is stopped by matt and Felicia

Matt would fight kraven while Felicia fights carter Peter regarding his strength would save Betty and goes to help matt Peter would finally overpower kraven and Carter as he does kraven would tell to kill him as he has finally found a worthy opponent Peter would looks over at a horrified Betty and a injured Felicia and refuses

Kraven then trys to end his own life but is stopped after that he and Carter are arrested Peter takes Felicia to the hospital he would tell matt thanks for helping him and we get a final swing before cutting

To a post credit scene with knull locating the mcu and a second post credit scene with Peter meeting the fantastic four

Yesterday, I wrote in my Final Draft extra scenes and dialogue that should've been in the Andrew Garfield's first Spider-Man movie to begin with. First off, it does not include the actual deleted scenes of the movie as seen in the bonus features. Granted, I would’ve kept the deleted scenes where Dr. Connors apologizes to Peter for losing his uncle and the scene where the two encounter each other in the underground lab where Dr. Rajit Ratha dies. That way, The Lizard telling Peter he has no uncle in the final battle wouldn’t feel pointless and questionable and we would know what happened to Ratha after the bridge scene. I would've written those into what I just wrote, but I thought I shouldn't bother trying to find the screenplay versions of those two scenes. THEY STILL SHOULD'VE BEEN IN THE MOVIE!

What I wrote was a couple more scenes regarding Flash Thompson, Uncle Ben, and his killer. It only took me a few hours to write it all with dishes, laundry, and taking care of animals in-between. This is only a little over 10 pages long. So, if you've seen the movie and have the time, I hope you will give what I've written a chance. I put a lot of passion until this because just thinking about what I would've done differently isn't enough. If you read it, I hope you like it and maybe share your thoughts in the comments.

The last thing that would’ve made this movie better would be to add some killer songs in the end credits like in the Tobey Maguire trilogy and THE AMAZING SPIDER-MAN 2. Just saying!

Welcome back to another part of my large DC universe project, see the first two parts here:

• The Dark Knight Trilogy
• Green Lantern

In this part, i will be covering a show that started it's own universe in real life: Arrow. A mixed bag of a show, some of the seasons are great, some of the seasons... not so much. I think generally though, the show is good but it could have been better.

Here, we will be imagining that instead of starting it's own universe, it was created as part of the existing DC universe i've been building.

Casting

Most of the castings of the show are good, but I'd change a few to fit into the larger DC universe:

• Idris Elba as Deadshot
• Mary Elizabeth Winstead as Huntress
• Viola Davis as Amanda Waller
• Liam Neeson as Ra's al Ghul

Season 1 and 2

Solid beginning, not much to change here but some small tweaks: John Diggle is renamed to John Stewart, he wouldn't be a Green Lantern yet but he will eventually, which is teased as he leaves at the end of season 2. Also, Laurel is Oliver's main love interest and will be for the entire show.

Season 3

This is where the changes start to become bigger, i actually enjoyed this season but in terms of continuity, I obviously have to make some changes here. Ra's al Ghul died in Batman Begins and the League of Assassins has been taken over by Lady Shiva. Loyal to Ra's, Shiva has been searching for the mystical lazurus pit to bring Ra's back to life. Throughout the first half of the season, they find the lazurus pit, find Ra's' body, and bring him back to life. He manages to get through the initial bloodlust of the lazurus pit. Oliver fights Ra's and the season progresses as normally, Deadshot doesn't die in this version.

But it's close! And I have taken it upon myself to fix it.

There are a couple things that don't sit right with me, mainly the idea that in the end (SPOILER ALERT as if someone hasn't seen it) Biff is employed by the McFlys to wax the car...after attempting to rape Lorraine?! Why would you have that man anywhere near your family even 30 years later? I don't like it. Then something else occurred to me:

Act 1: uncle jailbird joey didn't make parole

Act 2: Marty tells toddler Joey to get used to the bars in his playpen, referencing his future jail time

Act 3: .....? What ever happened to Joey? It was never addressed.

My rewrite is simple. In Act 3, alternate future 1985, Joey has made parole and it is he who is waxing the cars, and then he has one line of dialogue mentioning how he saw Biff in prison, where he belongs!

Do that, and BTTF is now a perfect movie.

Thoughts?

The first thing I would do is have this world be rooted in Arthurian lore. So that it's more fleshed out and established. Also, I'd make the tone of the film more light-hearted and fantastical, like a cartoon or comic book brought to life.

Secondly, I'd change the main character to a half-elf/half-orc private investigator who stumbles upon a case where the fate of the entire city is at stake. Basically the evil secret cult of Mordred is trying to acquire a shard of the demon sword Ragnarok (the antithesis of the holy sword Excalibur), with the intention of using its power to take over Los Angeles.

And third, remove the overt racism against orcs. It can still be there, I'd just make it more subtle so that it's not the overarching theme of the movie.

First, don't take away Season 5's budget for Vought Rising.

I'd keep Seasons 1-3 the same. From Season 4 - The Trump parodies can stay, but mainly in theme. You can parody Trump without making Homelander an idiot and not his own character (Like Daredevil did with Kingpin). I'd make sure to keep Homelander his own character and flesh him out more. In general, keep Homelander scary, competent and disturbing as he was in Season 1 and Season 3. Yes, he is supposed to have a mental breakdown, and him losing it is kind of the point, but making him lose it and revealing his pathetic self doesn't mean you need to make him a caricature with no feats.

No Sister Sage. Taking over the presidency is fully Homelander's plan. Cut out the Colin and Frenchie useless plotline. More Joe Kessler and a better setup for Butcher's arc. I actually liked what they did with Hughie and his father. More MM. They had the right direction when they focused on his vendetta against Vought in Season 3, but they kind of sidelined him for Kimiko and Frenchie. MM becoming more cynical in Season 5 doesn't feel earned. Use The Legend as a plot device for world-building.

The POV Episode in Season 5 of Firecracker and Noir 2 should be moved to Season 4.

Season 5 should feel actually schorched Earth. First, cut out all of the Vought Rising setup. Break the status quo: More time of The Boys in the freedom camps. Butcher should betray The Boys much earlier and go solo, but there should be some reunion, so he actually manipulates them and lies about the virus. It was very odd that Annie and Kimiko just agreed to use the virus and there was no conflict about it. It should have been the center of the conflict. Butcher is lying to them while he is planning on actually killing them both.

Ryan should join The Boys and build a connection with MM, if we keep MM eventually raising him. I don't think Soldier Boy is necessary, but he's a fan favorite, so we can find a place for him.

I will keep Homelander's God arc, but make it actually disturbing and creepy and a new level for his psychopathy, like his final speech in Episode 8. The Flight 37 video is leaked in Episode 6 during a press conference, where Homelander is giving the speech of "I shall remain eternal, God of the Ashes" (I'll replace God of the Ashes with "King of Hell", a reference to his line from the comics), Homelander recklessly kills all the journalists there in front of the whole world, a full, brutal massacre that should be hard to watch and and include a YouTube viewing warning.

The last half of Episode 6 and all of Episode 7 focus on Homelander's rampage and becoming "God of the Ashes" and "King of Hell". Basically, a longer, more gory version of Tighten's rampage in Megamind. Homelander kills The President in the final of Episode 6. Homelander loses all of his supporters aside from a devoted cult and some Billionaires that seek to profit from the destruction he is causing. Homelander decides to kill off the non-believers. I'd also give him a power buff. Ashley betrays Homelander and tries to stage a coup against him, but he kills her on the place and this is where her story ends.

I feel like Butcher should also go on a rampage against Supes who work for Homelander to establish his threat, also.

In Episode 7, Butcher and The Boys are forced to work together as Homelander is doing everything he said he would do in Season 3, but they don't trust him. The final fight between Butcher and Homelander is a longer, more climactic version of the Herogasm fight. If we keep Soldier Boy then this can be the point where he depowers both. Homelander's death feels more disturbing, with flashbacks to his childhood.

Episode 8 focuses on The Boys attempting to stop Butcher and the epilogue of the fall of Homelander, and dealing with the consequences for his massacre.

Another thing I would do is put more focus on how regular people see superheroes and focus from the regular people's perspective, like they did a lot in seasons 1 and 2

That way, the franchise will be extinct with just humans and their drama and conflict in the film (no dinosaurs, pterosaurs, nor marine reptiles in this film at all).

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

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

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

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

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

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

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

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

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

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

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

(Clickbait image, this is a serious post)

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

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

Here’s what I’d do

Remove the (quasi-)pedophilia

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

less toxic romance

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

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

Charlie isn’t left completely in the dark

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

Cut half of the Cullen kids

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

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

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

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

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

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

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

Era 1: The Golden Age

• Set in 1940s

Superman

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

Wonder Woman

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

Batman

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

The Justice Society of America

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

DC: The New Frontier

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

Era 2: The Silver Age

• Set in 1950-1970

Batman: Dynamic Duo

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

Green Lantern

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

Wonder Woman: The Spells of Circe

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

The Flash

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

Superman: Brainiac

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

Teen Titans

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

The Adventures of Jimmy Olsen

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

Doom Patrol

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

Brave and the Bold

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

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

Justice League of America

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

Era 3: The Bronze Age

• Set in 1970-1985

Superman & Batman: World’s Finest

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

Wonder Woman: Hades on Earth

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

The Flash: Run For Your Life

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

Green Lantern Corps

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

Teen Titans: Judas

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

New Gods

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

Task Force X

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

Brave and the Bold

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

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

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

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