You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Workprint V4 Released!) and ANH Technicolor Project (Released!)
The creative writing wiki "Channel 101" written by original Community showrunner Dan Harmon is a very useful resource for what you are describing. He knows how to cut through the crap, so to speak, and really get down to the core of what makes for good storytelling. I consider him a mentor.
The Wordplay articles are very illuminating on the subject of screenwriting:
Also Truby's articles and interviews on Youtube. In this one he attacks the idea of the three act structure of movies:
You probably don’t recognize me because of the red arm.
^ Some great resources. Thanks :)
Good points there. I would add that a screenwriter should value their story enough to make it internally consistent. Many a movie has been sabotaged by faulty "movie logic" and convenience.
You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Workprint V4 Released!) and ANH Technicolor Project (Released!)
My attempt at revising a recent film. A rough outline as I have forgotten nearly all of the little bit I knew about screenplay format (and English composition for that matter.) SPOILERS SPOILERS SPOILERS STIDREVISED: The film opens as in ST09. A Starfleet ship approaches a little derelect ship. Suited figures are aboard the derelect filled with cryo-pods. They concentrate on one containing a young man.There is a little quick and vague talk about the cuong man surving cryo because he has special protection from nuclear war and nuclear winter. There is an alert and they beam back with the pod. Captain Marcus seems full of compassion for rescueing the people and he orders the derelect pushed on a different course where it can't be tracked. Marcus then leads the approaching ships away from the derelect. Klingon ships drop out of warp and there is a battle where Marcus sees some of his crew killed. There is a vaguely Kobiyashi Maru type scenario but we don't know the outcome. HARD CUT TEN TO FIFTEEN YEARS FORWARD IN TIME. The same sequence saving the planet from the volcano with Chekov in the shuttle and Spock releasing the line, maybe the ENTERPRISE hiding in the smoke plume (to save the great underwater thing for another ep), Kirk and McCoy Only in native clothes and beamed out with some of the water splashing in the TR, Uhura beams back from the shuttle to argue. CUT TO OPENNING CREDITS THEN CUT TO LONDON ARCHIVE: A man of about thirty begins to infiltrate the building CUT TO PIKE OFFICE: Kirk and Spock talk about why they are called in. Kirk says it must be because of HIS proposal for the first 5 year deep space mission of exploration. Spock is doubtful. Pike comes in and starts chewing them out. INTERCUT BETWEEN OFFICE AND ARCHIVE Kirk argues that he couldn't let 80 million sentient humanoids die needlessly, Pike points out that the Klingons might interpret that as Starfleet creating 80 million new Federation allies right on the doorstep of the Klingon Empire and that is just one of the infinite number of things that could go wrong from changing the natural order. Pike asks Spock why they don't contact species without warp tech and Spock reminds us that surviving to warp tech without destroying themselves says a great deal about a species. Pike tells Kirk that Command wants to send him back to the Academy and they returned the ENTERPRISE to him, waits a moment, and then tells Kirk that Spock is demoted to just Science Officer and Kirk will be First Officer but he's going to wish he was sent back to the Academy. Says that kirk is his mess and he's going to clean it up. An alert and Pike sends Spock back to make the ship ready and takes Kirk to the conference. CONFERENCE: Admirals and Captains at the main table assistants sitting back behind. Kirk meets mysterious blonde in back and hits on her. Talk of Klingons poised for slightest provokation and there can't be a war before the CONSTITUTION and RESILIENT are completed from regular building program and the new ships secretly being built are commisioned. It looks like Marcus doesn't want war at least until then. Decided the archive isn't the Klingons style but a Starfleet traitor was there and is a great engineer who might have given prototype cloaking tech to Klingons and/or Romulans. Concern if new ships might be provacative. Kirk interrupts, attack, Pike injured but not killed and quips that he'd like to command the ENTERPRISE for more than 5 minutes, Kirk saves blonde, stops attack. ADM MARCUS OFFICE: Kirks gets questionable orders to kill engineer but it could start a war and told engineer was also looking for info. ENTERPRISE: Crew protests orders to go to Klingon colony world and fire. Blonde with one super torpedo for the job and Kirk learns she is Marcus then. She might be there to spy for daddy. It looks like daddy might want war. They go, Kirk doesn't fire on the only metropolis on the colony world near neutral zone. Talk of Uhura needed to negotiate the "Right Of Allies" though that has only been between Klingons. They find engineer and Klingons attack but don't respond to requests to be considered allies. Engineer saves Crew from Klingons and saves Kirk with a blood injection. (These things have been happenning as quickly as possible to leave as much time as possible to slow down for interralating between the crew and the villain TOS style including a sit-down in the Enterprise conference room.) We learn that another incident has enraged the Klingons and they are suddenly surging and converging to attack earth and other Federation worlds. McCoy examins Kirk as they talk to engineer and "Any more homicidal" quip here passing quickly. They find out that he is part of Kahn's "family" and the most brilliant young man in engineering aptitude taken 10/15 years before and shown current tech and made to design weapons systems for Marcus. He claims everything he did was only to rescue his family from cold death and that Kahn was most humane of the war leaders. McCoy says that's a little like the most humane of the badgers. He says Marcus is certain war is coming with Klingons and that he has been forced to make secret weapons that violate the spirit of the treaties and that the Klingons will think are so provacative that they will turn from internal rivalries and attack the Federation. Looks like Marcus has already created a war. We see attacks on some Federation worlds and Klingons headed for Earth and Pike and some Starfleet ships ready for defense.- Enterprise and Klingon ship battle over colony world. Back and forth. Both ships severely damaged. Enterprise hit and Kirk sees some of his crew killed. Anger. Moral dilemma about using Marcus torpedoes. Kirk orders them targeted. At last moment he orders different coordinates and fires a warning shot across bow. Tells Klingons the Federation has horrible weapons that must not be used. Klingon commander hesitates and then decides must destroy enemy now. Marcus warps in in supership VINDICATOR and disables Klingon ship. Kirk must prove to watching klingon ship that he wants to stop war and is a true ally, honorable to Klingons. He orders to make ready to ram the Vindicator, tells crew that he can't let ADM Marcus see an evacuation or surprise is lost and chokes as he says "I'm sorry." Kirk says "Mr. Sulu...Ramming speed-" just then see that Scotty has sabotaged VINDICATOR. INTERCUT WITH BATTLE OVER EARTH (We haven't heard anything from them but Klingon language between themselves. Kirk orders "Cupcake, prepare a boarding party." and they go across to shuttle bay Scotty is to open for them, There are 70 crew on VINDICATOR so larger party that Kahn saves and is very helpful to this point. it looks like he might not be so bad. Scotty saved by little pal just in time to open shuttle bay and there is a phaser battle Get to bridge and Marcus says he didn't start war it was just inevitable (He didn't try to kill starfleet officers. They get rid of vindicator crew when engineer uses his knowledge to trigger 'Abandon Ship' order that Marcus can't stop. Only bridge crew remains. Engineer kills Marcus. Sits in chair and starts typing commands to control ship, tells Kirk that he also worked on some ENTERPRISE systems and we see on ENTERPRISE that the 'Abandon Ship' alarm is signaled there and all internal ship communications are disabled. Chaos as all flee. Enterprise suddenly starts to fall to colony world on course to crash into the only large city on the planet. engineer tells Kirk that it will guarantee that there is no peace, he triggered the war because he created weapons all sides are using and he is the only one who knows how to disable them. Spock takes pocket communicator and tells Chekov to program all transporters to send personel to a point clear of Klingon metropolis blast zone Uhura first. Uhura says she's staying and Spock says she must negotiate "Right of Allies" Spock gives Sulu the con and goes to warp core to fix because that is only way to restore emergency power to ship controls. Engineer tells Kirk that the Federation will have no choice but to submit to the great military commander KAHN. (he puts an image of frozen Kahn on screen) They will beg him on their knees when they see they will be anihilated otherwise. Engineer says "Yes, A captain should go down with his ship" and programs tranporters to beam the raiding party and remaining bridge crew to detention. Chaos as some reach shutlles and transporter pads around ship some are beamed at last moment while falling by Chekov. Enterprise falls through atmoshpere while we see Klingon surface guns blast holes in ship. We see Klingons, including young children, shout defiantly and wave blades at the falling ship. We see hole blasted in sick bay where McCoy put dead tribble he injected in a sealed jar. WE see Uhura and some crew at safe site she starts trying to negotiate with angry Klingons. Scotty and Kirk also realise warp core must be realigned they go there and others are beamed out along the way. Marcus beamed out while falling out hole. Kirk goes in while Scotty fixes something else, fixes core and Spock reaches point while Kirk comes out and collapses. Uhura about to be stabbed as they look to metro in distance and see smoking ship fall. Sulu gets control and yells at Chekov on pocket com to get himself and every one else out now. The ship arcs up and clips some city spires. Kirk Spock and Chekov materialize and all see dieing ship arc up and set course for VINDICATOR. Sulu yells as red sparks surround him and ENTERPRISE slams into VINDICATOR and surprised engineer. Sulu materializes on Klingon transporter pad. Klingon commander orders over coms that the federation warriors have the right of allies. Crew witnesses Uhura is released and Kirk collapses Chokes about his ship and asks what he has done, and closes eyes. Next we see a great Klingon battle cruiser with other Klingon and Federation ships in the neutral zone. In a great bay of the battle cruiser we see klingons and federation officers are at a funereral before a pod with Kirk. Pike is there and the Klingon Commander is speaking in subtitled klingon that even though he was of an weak enemy species, Kirk showed courage and honor worthy of a Klingon. Spock then speaks about how Kirk through emotion and passion yet still achieved a higher Logic that the greatest sages of Vulcan only barely glimpse, but his Logic escapes him and in a...painful hole he only knows..."that I miss my friend." Klingon trumpets that sound vaguely like bagpipes and the Kingons lift their heads and roar as Kirk is committed to the neutral zone CUT TO SEA WITH THE KLINGON metro in background. A Klingon boy in a strange boat reaches into sea and pulls up a jar with dead tribble and it suddenly starts to flutter and tremble. PAN UP TO SPACE pan down to Earth, drop through atmosphere as we hear Kirk say "SPACE, THE FINAL FRONTIER." We see Iowa shipyard with two ships finishing construction."IN THIS PROPOSAL FOR THE VOYAGES OF THE STARSHIP ENTERPRISE:" We see on the saucer of one ship something painted out and repainted 'ENTER/TUTION', 1) A FIVE YEAR MISSION Pull up to space going out past mars and Jupiter. 2) TO SEEK OUT... goes on until it warps out into ST09 style end credits with the planets.
Knowing how you want it to end is extremely useful. I knew I wanted a TWOK funeral and a Kirk voiceover. I knew I wanted a TSFS destruction of Enterprise. These present great problems. The series has trouble going forward and It's a hell of a downer of an ending. "We'll meet you at the rendevous on Tatooie." is about as important as "I am your father." and I love you/I know. It reminded the audience that there was hope and something to look forward to at an important moment. I wanted everything in STID to follow the philosophy ST09 and be bigger, faster and more spectacular. Kirk's sacrifice had to be for much more than ship and crew. Same for ENTERPRISE. Working out the ending in detail showed me what sort of "Chekov's guns" I needed to plant earlier.
^^ The outline above looks deceptively like it is the story of the movie. It is part of the story, but it is all more like a backdrop for the more important aspects of the story. It enables the more important aspects to take place. The interaction of the characters and the progress of the arcs of the indivdual characters torwards the sort of personalities they became in TOS or variations there from. This is why moving through the opening sequences as quickly as possible while remaining engaging and without becomeing confusing meaningless to the audience is critical. The decks have to be cleared for the characters to develope. Many hints have to be revealed in the beginning sequences as well. Why does Marcus become such a bastard and how bad is he? What sort of torpedo was dac Marcus working on? Does it rearrange matter in a destructive way? How does she fell about doing that? How does she feel about meeting Kirk? How does she feel about encountering a fellow super-engineer? How does he feel about her? is there a quick little moment where they make an emotional connection or do they mess with each other's heads? Both? There's all the problems of two hot chicks and how the guys react. Jealousies? How do Scotty and little buddy develope the bromance of the 23rd century? Spock, Kirk and Bones for that matter. Above all Kirk as he is the central figure. In ST09, He was obviously struggling with the manner of his father's death. How is that internal struggle progressing? He was born at the beginning of a timeline that would not, and maybe should not, have been. That must do a number on his head. TOS Kirk was a bit like a 007 man's man. When he had pleasure he usually mixed it with business. ST09 Kirk was a skirt chasing frat boy. Does this next film show a Kirk struggling to look away from every passing short skirt? Something in between TOS and ST09?... The original touched briefly on many of these things but more, without grinding down, enriches. Understanding motivation is good too. Marcus could be threatening to destroy the Klingon ship and devestate the Klingon city before leaving to fight the war elsewhere. Engineer could be taken as a boy to allow for family in both timelines. Some expo about how they are living in a timeline that perhaps "should not be" might increase the tension and sell the loss.
^After watching the POS movie I just watched, don't I know it.
Well, Ender's Game. Too soon?
I thought the movie was wonderful. I enjoyed the faithful adaptation of the book, the pure sci-fi presentation, the Battle School and Battle Room and Command Center exceeding my own imagination, the first-rate performances.... I was most impressed by the way the story was compressed. They managed to overcome many troubles I had thought might be insurmountable.
This is not to say that the film didn't have serious problems. Most all of the difficulties were due to runtime and budget. There are only 120 minutes in two hours. After all of the begging, borrowing, and stealing, the budget is what it is.
Most of the other problems were due to the very faithfulness to the book which I loved.
I thought all of the actors were great, especially HF. It was possibly his most human performance as the grisled and haunted Headmaster of a military academy. He wasn't Han or Indy or AF1 Prez. No running or flipping around. I think that's what threw general audiences. I was slightly thrown because I had always envisioned Graf as Euro.
SPOILERS SPOILERS SPOILERS
The three great problems were presenting a credible (within sci-fi realms) universe, creating "buy-in" for the concept of turning over a multi-trillion dollar space fleet to a kid, and preserving surprise. It was a great universe. The other two fell short from the limited time and budget and faithfulness.
The movie proves that it can't be done in 115 minutes. It also shows, through it's ingenious compression, that it might barely be possible in 180 minutes. A titanic story needs a Titanic runtime.
I quite liked Ender's Game. I don't remember too much from the book, but it was quite faithful to what I remember. It makes me want to see a sequel. That final test was really epic, and is better suited to a movie than a book. It's hard to describe complicated maneuvers like that in words, they've got to be seen.
Episode 9 Rewrite, The Starlight Project (Workprint V4 Released!) and ANH Technicolor Project (Released!)
*sigh* I liked thejediknighthusezni back when he stuck to making constructive threads like these, before he went off the deep end with all his homosexual/Luciferian conspiracy theorist crap.
I've actually been following the trend.
Personally, I like studying the differences between the final draft of a script, and the actual movie itself. [Just read Revenge of the Sith and then watched the movie and it’s interesting how much they downplay Anakin’s “awesomeness” in the actual movie.]
If they made script doctoring SOP for every moderate/big budget film, it wouldn't reflect negatively on any one screenwriter. For a thousand dollar painting, respect the individual integrity of the artist. For a 200 million dollar feature production, get a few more pairs of eyes on the thing. 2 or 3 doctors at the end of prepro with enough time to make necessary extensive changes to even the storyline, and another couple of doctors on hand during production who specialize in changes on-the-fly.
All of Hollywood seems to be drifting into some bad habits. Loose narrative structure, logic within the context of the fictional verse, pacing, dumbing down, fewer concerns for the potential of the English language…
I suspect the new digital recording is contributing to this. Back in the day, filmmakers knew they couldn’t shoot 10 million feet of film. This generated a greater discipline and determination to get all their ducks in a row during prepro.
The only solution I can think of is to place those electric dog collars on the necks of screenwriters and directors and ZAP them very, very, VERY HARD the moment they seem to stop regarding every minute of shoot time as if it is worth 10 million dollars.
I suspect the greatest problem is the desire to pander to the expanding international audience. The fear that non-Anglophones(N-AP) won’t understand the nuances of the English language or appreciate Western methods and so they dumb down and speed up everything to carry people along with visuals.
Hollywood is embedded in the Western, Judeo-Christian, Anglophone world. It is what it is. It shouldn’t try to be part of some amorphous LCD globalist borg-blob. Half it’s audience is in the Major AngloPhone Nations(MAPN).
Solution? Make two cuts for every major production. The MAPN cut and the N-AP cut. Every Hollywood production should, IN EVERY WAY, be crafted EXCLUSIVELY for the MAPNs. As far as the screenwriters and directors and editors are concerned, N-APs DO NOT EXIST. They must use the subtleties of language and idiom and cultural traditions to full effect for their ONLY audience. The only exceptions would be to bring special international-market script doctors and assistant directors and assistant editors to add simple humor or shots, alter pace or cut what they believe wouldn’t work. The studio suits could scratch their “gotta make it work for the non-English crowd!” itch. They could play both cuts for foreign test-audiences. If the focus groups prefer the N-AP cut, they release two cuts. If not, MAPN cut all the way.
Another great problem with modern Hollywood that is influencing screenwriting is the obsession with creating cool shots and clever quips for the trailer and the effort to just get as many people in the first weekend before it’s realized that there is no substance.
Solution? Alter the split with the theaters. Studios get most of opening Friday and the exhibitors take Saturday and Sunday. Studios would then get the lion’s share of Monday thru second Thursday. Regigger everything so it still comes out about 50/50 in the end, but remove the perverse incentives to fixate on the tricks for opening weekend.
Studios would have to make back their money by crafting quality films rather than with marketing hype.
I’ll do a quick ARRIVAL reconsideration here.
Save time for philosophy and reflection on means of communication and perception of time.
Add 30 minutes of runtime.
Keep the flash forwards very brief, College office, pick her up at home, approach to site.
Have more of a collegial team arrangement with task leaders and first assistants from communications, military, CIA, physics, biology… Group discussion and debate with love interest dude just one of group and no reason to think they’ll be together at first.
I thought the reasons to fear the arrivals could have been more developed. More ambiguous creatures that might want a new food source or out to use humanity for own purposes. Protagonist chick shares some of those concerns, not just standard out-of-control militarists.
Physics guy discovers no linear time perception in language. Language chick having very brief flash-forwards and things shift to the nature of time and causality with ‘The Omega Point’ angle.
‘TOP’ is supposed to be an entity that can perceive and effect past, present, and future at once. Many alternate universes are supposed to be dependent upon evolution of intelligent life to create computers that will consume the entire individual universe and evolve into ‘TOP’, the all powerful ultimate computer that can transcend time (and causality) to influence the primitive intelligent creatures (us) in the past to create the tech to create ‘TOP’. This is exactly the sort of “science” one would expect from the Jesuits who gave us The Piltdown Man.
We’ll leave aside uncontrolled input from higher multiverses, causality, quantum uncertainty, The Butterfly effect, and the inability to distinguish a ‘TOP’ critical universe from a simulated game-experiment, together with many more unanswered questions and wild inconsistencies, to return to our story.
I thought the original pace was nice but ultimately got in the way of itself. Everything moves more quickly with slowly building tensions and concerns.
It becomes clear to Physics Dude that the don’t-you-DARE-call-them-Jesuitical, seven-poded hydra-beasts NEED humans to act in certain ways now for the hydras to achieve ultimate time-bending power in the far-future. The great dilemma for the protagonist is whether she should act in those ways, even though it means humans including her own future child will suffer, or attempt to cast-off into an uncertain future. All the while the Chinese coalition is developing some damn good reasons to fear that the hydra-beasts might not be good for humanity.
Of course, we already know the answer for our own universe. We all know that all the incalculable CRUELTIES and AGONIES inflicted by the Satanic Jesuits and their totalitarian minions, together with their deliberately setting up all humanity for The Great Culling caused by The Big Glitch kicked off by a natural disaster or artificial trigger, and every beyond Orwellion agony they will lustily inflict thereafter, is all AAAAAA-OOOOOOOOKKKKKKKKAAAAAAAAAAAAYYYYYYYYYYYYYYYY!!! It doesn’t matter that they could have very easily, and secretly if they wished, spent decades stockpiling necessities for the entire population. We all know its all TOTALLY worth it if the Jesuits can morph themselves into a universal borg-blob to have godlike power. We all know that they will “take care of us” on the back-end because that’s totally what COMPLETELY PSYCHOTIC and PURELY DEPRAVED SATANISTS do. They LOOOOOOOVVVVVVVEEEE us SSSSSSOOOOOOOOOOOO MUCH!!!
Anyhoo, chick and dude have good reasons for suspecting it could possibly be best to trust the hydra-beasts. They stop the Chinese and TOGETHER make the COSMICALLY IMMENSE decision to act-out chick’s future glimpses.
DOCTER STRANGE: Reconsidered
The film got a pass for the great visuals. Limited in other areas.
A very quick open with Baddie trying to steal the Eye of Agi-Magi, kills some goodies, thwarted and steals magic page on way out. Ancient One shows up later like Yoda.
It’s too bad they didn’t have the CapAm:WS experience going into the development. I thought it could have used a dose of Avengers and a sidekick. Black Iron Man (BIM) was well positioned after Civil War. He could show up at the ER and Doc Chick gets consultation for him with maybe Stark insisting on the best specialists. Maybe Scarlet Witch could escape and go searching for power from the baddies. BIM and Strange learn about ability to heal in the East and set off together as an odd couple.
The over-arching problem seemed to be a tentativeness or lack of commitment. It had a romance, but not much. It had humor, but not much. It had some buddy relationship, but not much… BC seems to have the chops for romance and humor but the material didn’t develop it fully. Being kind of an asshole can be good for developing relationships if played all the way. Magic dudes in capes is silly, commit to humor of it.
Chick and Strange haven’t kissed. He had invited her to a couple of conferences trying to get her to switch specialties and tells her that this next conference will be their third date. She says nooop and is concerned about Strange leaving NYC to go home to London hospital. She tries to help him but he pushes her away and then looks longingly after her as she leaves.
They get to the East and hit their bottom in the gutter rejected. Ancient One was great as Ginger. She was very ambiguous. Even more of that. Strange is invited in but BIM must be left out. Told the purpose of bodies that break down is for spirit to overcome and grow. Strange is urged on by BIM and almost goes in without him, stops and returns, struggles with broken hands to put BIM on back and carries BIM in, stops and defiantly says the purpose of broken bodies is to be healed, AO watches them pass with slight little smile.
Eye of AgiMagi generates a time bubble where time passes more quickly than regular world. Strange learns about Eye and meets Cape right at first. Strange wants the Eye as his one allowed talisman but Cape follows him like a puppy. Strange says it seems like a very charming item of outerwear but a surgeon cannot tell his patients “I’ll make a three inch incision, insert the endoscope, and oh, do you like my cape.” BIM is nice to Cape. They train, Strange gets some grey and a goatee, and BIM finds enough spirit to overcome and regain some ability.
Even more far-out visuals, S Witch might be bad now, BIM and Cape help Strange survive, meet-up with Chick who thinks he’s only been gone a few days and is really bothered by floating capes “Sooooo, you wear a cape now.” Big battle, Witch doesn’t get what she wants and helps Strange at a crucial point and they destroy baddie but Strange is sucked into another dimension.
Chick and Strange meet on chilly rooftop, it’s all too strange, cape wraps itself around her and gently nudges her back to Strange, he confesses true feelings and they kiss.
The existence of three groups that Hollywood must ENTIRELY forget: Foreigners, children, and homosexuals.
Non-Anglophones have their own entertainment industries catering to their own cultures. Hollywood is supposed to be for Anglophones. I’m curious about some films like the Chinese MERMAIDS, but I don’t believe it should be tailored to suit my Western sensibilities. Part of the appeal is that it is alien to me. I think it’s wonderful that foreigners can enjoy American produce, but that is why they should enjoy it. FORGET THE NON-ANGLOPHONES(exceptions noted)
“Ooohh, the kids will like this!” Wwwwuuuuuuuuhhhhhhhh! Forget children exist! So far as screenwriters, directors, and producers are concerned, EVERYONE is between the age of 14 and 27. The exceptions would be for PG/PG-13 rating, low budget niche, and films like SCULLY with big names for the more mature set. Children will love whatever the big kids love. There’s NO POINT in worrying about them. This is especially true for “Family Films”. I loved TOY STORY. I had the sense that they made it for me and for themselves. ET was about meeting a new friend/pet and having him move away. EVERYONE could connect strongly with it. ET was NOT a film FOR children, it was a movie ABOUT children. Remember the difference!
About 2% of the population behaves as homosexual over an extended period of time. “Bi-sexuals” are basically hetero with an unhealthy obsession with certain body parts. There is NO SUCH THING as a “homosexual” in the sense of being “born that way”, just as there is no such thing as born carnival geeks. Most all of these people were pulled into that in horribly disturbing ways. AT LEAST 98% of the population DESPERATELY wants to find the way to normal, natural, healthy human relationships. An ENORMOUS segment of the population, directly or indirectly, has suffered DEVESTASTION at the hands of aggressive unconcerned homosexuals. In the face of all this, Hollywood has decided that top priority is to RAM militant homosexuality HARD down the throats of everyone. Anyone who DARES to have the slightest question about it must be DESTROYED!
At least 98% really don’t want to see any of that. Some of them pretend that they do because they get sick jollies out of having a PC cudgel to viciously BASH people who recognize Truth instead of their INSANE and CATASTROPHIC incremental totalitarian ideology.
I can’t look at the X-MEN franchise without seeing some kind of sick homo-pedo cult compound headed by an Applegate bald weirdo. “Oooohhh, but they’re good-guys who defend regular people!” No, they promote a demonizing victimhood and VICIOUS HATRED against anyone who DARES to worry for the natural sexuality and sense of self of their children, grand children, nieces and nephews…
Overall, homosexuality is profoundly nihilistic. It generates a mindset of unconcern and degradation and domination and violation of all while projecting these evils onto their countless victims. It has been essential to the worst human political horrors, with the binding in conspiracies of silence and abuse and totalitarianism. Hollywood is now determined to be the Ministry of Truth for all of that as Western civilization rushes headlong towards the tipping point that will carry all of us to a centuries-long agony. If I was a Hollywood homosexual with at least three functioning brain cells, I would be in terror of this.
I’m not saying they should never ever portray the existence of it. I thought it enhanced the Story of SKYFALL to have Bond play ambiguous. 3PO is a great quirky character. But it should only be introduced in a very limited way where it is meant to enrich the story, NEVER EVER to “mainstream” or “normalize”.
HEY HOLLYWOOD, YOU VICIOUS TWISTED ASSHOLES, HAVE SOME RESPECT FOR THE DEEPEST YEARNINGS AND DEVESTATIONS OF 98+% OF YOUR AUDIENCE AND STOP DRIVING ALL HUMAN DECENCY TO DESTRUCTION!!!
Ben wasn’t introduced until well in, Han and Chewie well later than that.