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harlequinmoss · 3 years

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How would you rewrite season 3 so it would be more coherent? I'm not talking about a full on rewrite of the entire episodes, I just mean how to make the plot lines and development flow better or changing them to be satisfying for all the characters.

Okay this is a really good question. I was going to say to make it more centered on FOWL but going back and reading the episode titles, it already kinda is. Like there's not that many episodes that don't tie into the finale in some way. I do have tweaks here and there that would help with plot and character development throughout the season. This ended up being a lot longer than I thought so here's a page break lol

Going in a linear format, Steelbeak should have made himself smart in Double-O-Duck instead of making the ray to make everyone else dumb. He'd be a more competent villain and more in line with his character in the original DWD. Maybe he could have even played a roll in LGD. It also would have avoided both him and Launchpad being mostly comic relief characters. I think there's too many jokes at Launchpad's expense about him being dumb. If he went back to his "normal" level of intelligence at the end, he could have told the family about FOWL without jeprodizing the search for the rest of the season. All they'll know is that FOWL is trying to take down the family and where the secret headquarters is. There's still the search for the leader and why FOWL is doing what they're doing. This makes it so that Huey has more to do and accomplish in what is supposed to be his season.

Next, The Rumble For Ragnorok. I'm just going off of memory here. I don't think that this episode did very much in the way of developing characters. Or at all. It was a forgettable filler episode where Dewey learned a lesson about humility or something and then it didn't come into play ever again. This episode could have been removed entirely to make room for an episode after LGD to give the Mallard-McQuack family more screen time and development. A general plot of this episode could be: Huey is helping Fenton and the other adults search the other realities for Gosalyn's missing grandpa. They end up finding him but he's either dead/a totally different person with different memories that doesn't remember Gosalyn at all. This event causes Gosalyn to give up the search and accept that her family is gone. Dewey has an emotional moment with her aside where he comforts her and relates the situation back to his mom and talks about found family while looking back at Launchpad and Drake. (Not really integrating this into any of my other points but if Della died on the moon in season 2 and the kids knew about this, it would make the interaction more impactful) At the end of the episode, its shown that Gosalyn has her own room, either in the lair or in a house similar to the original DWD, and Drake tucks her in while singing her lullaby.

The Phantom and the Sorceress. Oh God, what a mess. There's way too much wrong with this episode. Soup-Du-Silence had a good idea on how to fix it from Lena's perspective, which you can read about here. As for Gladstone, he could have still lost his powers and come to the mansion for help. But instead of him asking literal children, its Della and Donald (and maybe Fethry is there too) and then its a cousins adventure! Donald revels in Gladstone being unlucky but still wants to help. Gladstone doesn't seem so pathetic and played for comic relief. They track down the Blot together after Lena and her family fight him out of the Saberwing house, or they're about to find him when the Blot's gauntlet breaks and Gladstone magically gets his luck back for seemingly no reason, much to Donald's dismay. It might have to be two different episodes because cutting back and forth between the two plot lines would detract time from each and make the episode harder to follow. Idk but there's so many things they could have done that would have made the episode actually good and coherent

Let's Get Dangerous. It was good but it felt rushed. It needed to be longer. The timeline was hard to follow. Instead of the cheap shot at the end were Heron picks Bradford up in a FOWL helicopter, have the triplets being suspicious of him and figuring it out for themselves. Maybe they're all wary for different reasons and talking about it in a group huddle and Huey connects the dots in a dramatic reveal. They confront Bradford who does an evil villain slow clap congratulating them on figuring it out, but before anything else can happen, he's able to escape.

How Santa Stole Christmas. I don't think we needed this backstory. Instead, give us the opportunity to see bonding between characters. Its Della and Donald's first Christmas back together. Let us see that. Give us an interaction about the sweater. "You still have that sweater?" "Of course, wear it every year." And then they hug or something. That's literally all they had to do. Instead of following a Santa storyline that ends in Scrooge leaving an impoverished child alone in a house with nothing but a lump of coal when he could have given a tiny portion of his wealth to help her, let Scrooge learn the true meaning of Christmas through his family. Or even better yet, let him throw a party, inviting over recurring characters, and have it double as a brain storming session on how to defeat FOWL. Show them coming up with the plan for Webby's birthday party. Give us interactions with characters who haven't been there all season. Penumbra can help. Where has she been? She was building a ship back to the moon before, right? Give a conclusion to that. If she's decided to stay on Earth like it seemed in the end of her episode, all we really need is a short two second clip of her hanging out with the other Moonlanders, having their own form of Christmas or Hanukkah or whatever else.

As for the last few episodes leading up to the finale, I get what they were going for. Give each of the triplets one last centric episode. However, I think that the messages fell short in the Dewey and Louie episodes. I think they should have taken more of a Beaks in the Shell approach where the selected triplet still gets to shine, while also setting up high stakes for the finale. Don't be adding new characters so late in the game, be wrapping up storylines with already established ones. There wasn't really a point in adding Kit or Poe, other than the writers wanting to make reference to as many characters as possible. Same with April May and June.

Now for the finale. My main thing: don't make Webby a clone. It messes too much with all the dynamics in the show and ruins the found family message they've had this entire time. It would have been a lot better if Webby's parents were FOWL agents who had a change of heart after having their child and got killed by Bradford or Heron when trying to leave the organization. That's ample reason for Beakley not wanting Webby to know. I think the finale did a pretty good job of wrapping things up outside of that, honestly. Again, there wasn't really enough time to give all the characters a proper ending, like Gene who just disappeared once he was saved, never to be seen again, but if time was managed better in the episodes leading up to the finale, it would have made it so that more characters could have accomplished what they needed to. And what was with Bradford getting turned into a real buzzard at the end? You really going to just undomesticate him like that? Give him some poetic justice, push him into the void that makes people cease to exist.

That's about all I can think of at the moment. Thanks for the ask! It was fun to go through everything and think about what could have been done better

#ducktales #ducktales season 3 #dt season 3 #ducktales critical #ducktales criticism #dt criticism #dt critical

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yeats-infection · 5 years

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if you have time & you don't mind, i'd love to read an explanation of graham coxon & damon albarn's relationship like the one you wrote on bradford & lockett a while ago ... started listening to blur from your reblogs & i love their music, but i don't know much about their relationship or the band in general or really any of the context surrounding their songs. all your tags have me so INTRIGUED. don't worry if this is a big ask; & i hope the new yr is treating you well!

thank you for asking anon. i hope i can do this medium justice. i could say many of the same things i said in my deerhunter post! their partnership and friendship is the core of the band and is why they are the band they are and why they’re so good! they are proof that friendship is the most powerful force in the world!

putting this behind a cut because i got carried away. this also became a primer on Why I Love Blur and Why I Think They Are Special. but i feel like this isn’t even the half of how i feel.

something i would do if you have a free day and feel like torturing yourself is read all the blur interviews from the nineties that are scanned and linked here (bless the people who operate this website). the more contemporary ones from after their reunion are usually very charming. the ones from 1999-2002 are invariably Extraordinarily Sad. the ones from 1995-8 are often Borderline Journalistically Irresponsible. and the ones from before 1995 run the gamut from hysterically funny to guaranteed to fill you with extreme concern for the mental health of everybody involved.

here is one of my favorites of those interviews which goes into the story behind every song they had released until 1995. made me appreciate a lot of the leisure demos even more

here they are in an interview in 1994.... why don’t music magazines do a “best friends” issue anymore ( / why are there no music magazines anymore)... this is one of the first interviews i read with them and it picked up a piece of my brain and moved it. there is... so much in here...

this is my other favorite, from 1996... though it is kind of painful to read in many ways and is indicative of an Extremely Bad Time...

the Long Story Short (ish): they were childhood friends and started playing music together before they were teenagers, damon moved to london to be with graham who was at art school, they started the band which became blur with alex and dave. they started off sounding like the stone roses’ “fools gold” because that was the Sound of the Moment. they then pivoted their entire sound and vibe for almost every album. it is the constant pivoting i think that makes them such a mind-boggling band to me. it’s amazing when any artist reinvents their sound and tries something new because it is such an incredibly risky thing to do. it’s basically unimaginable to me that they did this multiple times in incredibly severe degrees as one of the biggest pop bands in the world whose sound was already kind of a weirdo outlier. and they did much of the pivoting so that they wouldn’t be pigeonholed, and so they could stay true to themselves and each other. like, WHO in our modern musical atmosphere would go from an album with this song on it to ONE YEAR LATER an album with this song on it?????

ANYWAY:

pivot #1 was to become Violently British in response to disastrously touring america around the explosion of grunge, following which they made modern life is rubbish even as their label told them it would be “artistic suicide”

pivot #2 was when they made parklife and invented britpop. this album was a Big Deal. they literally created an entire genre and scene and vibe to fit what they were doing and then wrecked it.

[ they did not pivot on the great escape which is a much maligned album but which has some truly Great Songs. the first single from this album is “country house” which was the subject of a press-manufactured chart battle with “roll with it” by oasis, which became “the battle of britpop” which in itself is was a kind of proxy standoff about class and the kind of north/south tension i am not qualified to discuss as an american. “country house” made it to #1 and graham showed up extremely distraught at damon’s soccer game to tell him and then later that night at a party tried to jump out a window. they hated being famous and had gotten really tired of making and playing “chirpy songs” when it wasn’t how they were feeling. graham wrote a letter to damon telling him that he wanted to make music “to scare people again.” HENCE: ]

pivot #3 is for the s/t in which you can literally feel the sensation of damon getting into pavement so that graham won’t leave the band. my favorite blur song maybe is “country sad ballad man” which has extreme pavement energy. the guitar under the vocal is insane alchemic perfection. also very meta in that it’s about being a washed up rock star. here’s the dumbest and most charming video from this album.

pivot #4 is to truly cosmic territory in the form of 13. nothing else like this record exists. we all can only aspire to making something like this record. i will disclose that i don’t like “tender,” the first song and single which is in itself a kind of shocking pivot in its emotional nakedness. “1992″ is where it’s at for me... which was a demo from the year 1992 (modern life is rubbish sessions) that they rediscovered and remade... the guitar ascending at 1:50... this album is nominally about damon’s longtime girlfriend leaving him and i think you can catch that lyrically but the push/pull of all the vocal and guitar... it’s all these kind of painful warring duets. they couldn’t work together anymore! they wanted extraordinarily different things which could barely coexist. so damon wrote their second full album of “please don’t leave me” and graham ripped all the songs to shreds. the other night i got teary listening to the instrumental outro, “optigan 1.”

[ i haven’t listened to think tank because graham only plays on one song (which i have listened to, “battery in your leg,” apex of suffering, 45 seconds in, do you ever disintegrate) and because whenever i like a band a lot i can’t bring myself to “finish” their catalog. graham left the band during recording sessions because he had gotten sober and couldn’t fake it anymore. during the many years in which they did not speak, they went to each other’s solo performances to watch each other secretly. ]

now they are friends again! they made the magic whip in 2015, which was another pivot in itself.

the amazing thing i think, to get back to the question you initially asked me which i have totally strayed from, is that damon has the absolute pop magic and graham can’t let it be... he has to make it more difficult and challenging and knotty and loud. they need each other because they challenge each other to be better musicians. the songs when you can really hear the tension are totally electrifying and are their best work. it’s the dynamic between their different visions of what they wanted the band to be, the push-pull and the wrestling, that make it all so interesting to listen to...

and that’s my novel on the subject (for now). i’m tagging @piovascosimo to make sure i got everything... beta is the expert who has been a fan since 2002; you might want to follow her.

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writingguide003-blog · 5 years

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'A total blast': our writers pick their favorite summer blockbusters ever

New Post has been published on https://writingguideto.com/must-see/a-total-blast-our-writers-pick-their-favorite-summer-blockbusters-ever/

'A total blast': our writers pick their favorite summer blockbusters ever

As the season heats up on the big screen, Guardian writers look back on their picks from the past with killer sharks, mournful crime-fighters and time-traveling teens

Face/Off (1997)

Photograph: Allstar/Cinetext/PARAMOUNT

Madman bomber Nicolas Cage stole John Travoltas dead sons life. So gloomy FBI agent Travolta steals Cages face. When Cage steals his face and his wife and freedom John Woos Face/Off becomes the biggest, wackiest and most operatic summer blockbuster in history, a gonzo combustion that flings everything from pigeons to peaches at the screen.

Hong Kong cineastes might applaud a script with roots in the ancient Sichuan opera genre Bian Lian, where performers swap masks like magic. Popcorn-munchers, of which I am front row center, are here to watch whack job Cage and soulful Travolta, two actors who love to go full-ham, play each other and go deep inside their iconographies. Call it hamception. Or just call it a crazy swing that hits a home run as Cavolta and Trage battling it out in a warehouse, a speedboat and, of course, a church. As Cage-as-Travolta gloats to Travolta-as-Cage, Isnt this religious? The eternal battle between good and evil, saint and sinners but youre still not having any fun! Maybe hes not, but we sure are. Bravo, bravo. AN

Edge of Tomorrow (2014)

Photograph: David James/Publicity image from film company

Theres been an increasing sense of desperation clinging to the majority of roles picked by Tom Cruise in recent years. Outside of the still shockingly entertaining Mission: Impossible series, he was miscast in the barely serviceable Jack Reacher and its maddeningly unnecessary sequel, his awards-aiming American Made was throwaway and his franchise-starting The Mummy was a franchise-killer. But four summers ago, he picked the right horse just maybe at the wrong time.

Because despite how deliriously fun Edge of Tomorrow was in the summer of 2014, audiences didnt show the requisite enthusiasm. It was a moderate success (enough to warrant a long-gestating sequel) but it should have packed them in, its combination of charm, invention and sheer thrills making it one of the most objectively successful blockbuster experiences in memory. The nifty plot device (Cruise must relive a day of dying while battling aliens over and over again) allowed for some dark gallows humor and a frenetic pace that kept us all giddily on edge while it also contained a dazzling action star turn from Emily Blunt whose fearless Full Metal Bitch wrestled the film away from Cruise. Blame its relative failure on the bland title? Cruise fatigue? Blockbuster over-saturation? Then find a digital copy to watch and rewatch and repeat. BL

Back to the Future (1985)

Photograph: Allstar/UNIVERSAL/Sportsphoto Ltd./Allstar

Back to the Future very nearly wasnt a summer blockbuster. The reshoots required after Eric Stoltz was booted off, then the fact Michael J Foxs Family Ties commitments meant he could only shoot at night all meant filming didnt wrap until late April. Robert Zemeckis and Steven Spielberg duly pencilled in an August / September release.

But then people started seeing it. Test scores were off the scale. Said producer Frank Marshall: Id never seen a preview like that. The audience went up to the ceiling. So they bagsied the best spot the year had to offer 3 July hired a squad of sound editors to work round the clock and two print editors with instructions to get properly choppy. They did, and those big trims tightened yet further one of the tautest screenplays (by Bob Gale) cinema has ever seen. The only bit of fat they left was the Johnny B Goode scene: sure, it didnt advance the story, but the kids at those test screenings knew we were gonna love it. Back to the Future is a pure shot of summer cinema: grand, ambitious, insanely entertaining. Deadpool, Avengers, take note: a blockbuster can be smart as hell so long as it wears it lightly. In the end, by the way, the film spent 11 weeks at number 1 at the US box office. Thats essentially the whole summer. CS

Teminator 2: Judgment Day (1991)

Photograph: Allstar/TRISTAR/Sportsphoto Ltd./Allstar

The first film I ever saw at the cinema was The Rocketeer. We drove into Bradford city centre, bought our tickets at the Odeon and sat through the 1991 tale which followed the fortunes of a stunt pilot, a rocket pack and a Nazi agent played by Timothy Dalton who sounded like he was from Bury rather than Berlin. The way into the multiplex there was a huge poster for Terminator 2: Judgment Day. Arnie sat on a Harley with a shotgun cocked and ready. My dad was a huge fan of the original but he still couldnt swing taking a seven-year-old to see it. It wasnt until I borrowed a VHS copy that I finally got to see what was behind that image. Skynet, dipshits, T-1000s, a nuclear holocaust and a motorbike chases on the LA river.

Blockbusters dont usually have that edge: theres a more brazen mainstream appeal. But Judgment Day was and still is an exception. It did huge numbers at the box office (more than $500m), was a rare sequel that was arguably better than the original and introduced really odd bits of Spanish idiom into the Bradford schoolyard lexicon. I probably would have been scarred for life watching it as a seven-year-old, but as a teenager it gave me a story I doubt Ill ever get tired of revisiting. LB

The Dark Knight (2008)

Photograph: Allstar/WARNER BROS.

The summer of 2008 was a busy one: Barack Obama emerged from a contentious democratic primary to become the first ever black presidential nominee of a major party. The dam fortifying the entire global financial system was about to burst. China hosted its first ever Summer Olympics. But somehow, and not exactly to my credit, what I remember most from that summer is the uncanny, ridiculously over-the-top publicity blitzkrieg that preceded the release of The Dark Knight, which has since emerged as not just an all-time great summer blockbuster, but an all-time great American film, period.

There were faux-political billboards that read I believe in Harvey Dent; a weirdly nondescript website of the same name; Joker playing cards dispersed throughout comic book stores, which led fans to another website where the DA was defaced with clown makeup. Dentmobiles, Gotham City voter registration cards, a pop-up local news channel: the marketing campaign might have seemed excessive had the movie not so convincingly topped it. Ten years later, as films like Deadpool and Avengers: Infinity War try to reach those same heights of virality, The Dark Knight remains the measuring stick by which every superhero movie, and superhero villain, is measured. JN

Mad Max: Fury Road (2015)

Photograph: Jasin Boland/AP

In many ways, Fury Road is summer: arid, scorching, bright enough to be squinted at. The driving force behind all the high-impact driving is scarcity of water, the essence of life in a desert where death practically rises up from the burning sand. Even in the air-conditioned comfort of a multiplex auditorium in Washington DCs Chinatown, watching George Millers psychotic motor opera left this critic sweaty and parched. My world is fire and blood, warns the weary Max Rockatansky (Tom Hardy) in the scripts opening lines. Staggering out of a theater into the oppressive rays of the sun, it sure can feel that way.

Millers masterpiece fits into the summer blockbuster canon in a less literal capacity as well, striking its ideal balance of dazzling technical spectacle and massively-scaled emotional catharsis. There was plenty of breathless praise to go around upon this films 2015 release, much of it for the feats of practical-effects daring, but the hysterical extremes of feeling cemented its status as a modern classic. I cant deny that Ive watched the polecat sequence upwards of a dozen times, but Millers film truly comes alive in Furiosas howl of desperation, and in Maxs noble disappearance into the throng. CB

Raiders of the Lost Ark (1981)

Photograph: Alamy Stock Photo

Its the music, its the giant boulder, its the Old Testament mysticism, its the whip, its the Cairo Swordsman, its Harrison Fords crooked smile, its the bad dates, its Karen Allen drinking a sherpa under the table, its the melted faces and exploding heads. Its all these things plus having the good fortune of seeing this at the cinema at a very young age, therefore watching most of it through my terrified fingers. (Indy tells Marion to keep her eyes shut during the cosmic spooky ending; way ahead of you there!)

The modern blockbuster as we know it was created by Steven Spielberg with Jaws and George Lucas with Star Wars, so the hype was unmatched when the two collaborated in 1981 with Raiders of the Lost Ark. As a kid I had no idea this was a loving homage to cliffhanger serials from the 30s and 40s, I took it as pure adventure. The seven-and-a-half minute desert truck chase (I dont know, Im making thus up as I go) is probably the best action sequence in all of cinema (John Woos Hard Boiled does not have a horse, sorry), but watching as an adult one notices a lot of sophisticated humor, too. (Indy being too exhausted to make love to Marion, for example, is something that didnt connect when I was six.)

Its strange to think I watched these cartoon Nazis on VHS with my grandparents who had escaped the Holocaust, and no one benefits when you do the math to figure out how young Marion was when, as Indy puts it, you knew what you were doing. But for thrills, laughs and propulsive camerawork (though a little mild Orientalism), nothing tops this one. JH

Independence Day (1996)

Photograph: Everett/REX/Shutterstock

Short of actually calling their film Summer Blockbuster, rarely can a films height-of-summer release date been so central to a films raison detre. This being the mid-90s, when po-mo and self-referentiality was all the rage, brazenly hooking your tentpole film to 4 July was seen as a pretty smart idea.

Fortunately, all the ducks did line up in a row for ID4: a game-changing performance from Will Smith, Jeff Goldblum at (arguably) his funniest, a rousingly Clintoneque president in Bill Pullman and most importantly in that run-up to the millennium physical destruction on a gigantic scale. Much comment at the time was expended on the laser obliteration of the White House (an early shot from the Tea Party/Maga crowd?), but I personally cherish director Roland Emmerichs signature move of detonating cars in somersault formation. Like many other huge-budget films then and since, Independence Day was basically a tooled-up retread of cheap-as-chips format of earlier decades though who these days would roll such expensive dice on what is essentially an original script, with no comic book or toy branding as a forerunner? We shall never see its like again. AP

Aliens (1986)

Photograph: Allstar/20 CENTURY FOX/Sportsphoto Ltd./Allstar

An Aliens summer is one for moviegoers who prefer to sit in in darkened rooms when the sun is shining; the brutal confines of the fiery power plant make an excellent subliminal ad for air conditioning. In 1986, James Cameron took Ridley Scotts elegant, iconic horror template and turned it into an all-out action blockbuster, forcing Ripley once again to face down her nemeses in a breathless fug of claustrophobia, sweat and fear. Its relentlessly stressful and unbelievably thrilling.

I first saw Aliens many years after its initial release. Owing to its sizeable and long-lasting legacy, it was at once immediately familiar, yet also brisk and brutally fresh. I understood that it was a classic, but I wasnt prepared for just how good it is, for the pitch-perfect management of tension, the pace that never really lets up, the emotional pull. The maternal undertow of Ripleys protection of Newt, and the alien mirror of that, adds a level of heart unusual in most blockbusters, and her frustration at being a woman whose authority must be earned again and again, and then proven again and again, remains grimly relevant, 30 years on. Its also a total blast. Now get away from her, you bitch. RN

Jaws (1975)

Photograph: Fotos International/Getty Images

It is the great summer blockbuster ancestor the film that in 1975 more or less invented the concept of the event movie. And unlike all those other summer blockbusters, Steven Spielbergs Jaws is actually about the summer; it is explicitly about the institution of the summer vacation, into which the movie was being sold as part of the seasonal entertainment. It is about the sun, the sand, the beach, the ocean and the entirely justified fear of being eaten alive by an enormous shark with the appetite of a serial killer and the cunning of a U-boat commander. And more than that: it is about that most contemporary of political phenomena: the coverup, the town authorities at a seaside resort putting vacationers at risk by not warning them about the shark. The Jaws mayor has become comic shorthand for the craven and pusillanimous politician.

A blockbuster nowadays means spectacular digital effects, but this film is from an analogue world. It bust the block through brilliant film-making and an inspired score from John Williams, summoning up the shark with a simple two-note theme which became the most famous musical expression of evil since Bernard Herrmanns shrieking violin stabs in Psycho took the place of actual knife-slashing. I still remember the excitement of the summer of 1975, and the queues around the block at the Empire, in Watford, round the corner from the football ground. The inspired brevity of the title meant the word was repeated over and over again to fill the marquee display: JAWS JAWS JAWS as if they were screaming it! PB

Read more: http://www.theguardian.com/us

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