Mandalorian and Grogu built a movie on a main character whose face we couldn’t see. Minions & Monsters built its movie on main characters who speak a language we don’t understand. Will it suffer a similar fate?
I find it funny when the trades try to cover for a movie bombing. According to them, the reason Minions made 60 million dollars compared to 120 million for the last sequel is that July 4th landed on a Saturday. Which meant the weekend played traditionally, versus when it lands on, say, a Thursday, and then it gets more people in on the non-weekend days.
Oh, and then there’s the World Cup excuse. You know, cause the World Cup fans are entire families. So they’re more focused on that than movies. Hmm, strange how the World Cup excuse didn’t apply to Toy Story 5’s record-breaking opening.
Uh, here’s an alternative explanation. Just throwing it out there. DON’T RELEASE YOUR ANIMATION MOVIE TWO WEEKENDS AFTER THE PREMIER ANIMATED FRANCHISE IN TOWN!
You know. Maybe that’s a reason also?
Now that the Obsession obsession has finally cooled down, the second biggest box office story of the year has come to the forefront. And that’s the quick merciless death of Supergirl. The movie dropped 80% in its second weekend, which is almost impossible, just based on the fact that, when you have that many theaters, sometimes people accidentally buy tickets to the wrong movie.
One of the things that’s always thrown me about Hollywood is how the town will decide early on that a movie is toast and every single person gets on that narrative train, making it very hard for the movie to overcome that negative buzz.
That’s how I would frame the failure of this movie. Right from the beginning, people were against it. And it strangely started when Millie Alcock signed on to play the lead, hot off the buzz she was getting from Game of Thrones.
I’m starting to think that all you need to build buzz about yourself in this business is a really bright blond wig. Maybe I should get a bright blond wig. Wear it around the farmer’s market at the Grove a few hours a day. Speak in Old English. Use a lot of “ye’s” and “thou’s.” Who knows what might come of it.
A lot of people point to Millie Alcock’s interviews as a problem. That’s when a lot of people turned on her. Her most famous quote was this response: “It definitely made me aware that simply existing as a woman in that space is something that people comment on. We have become very comfortable having this weird ownership of women’s bodies. I can’t really stop them. I can only be myself.”
When she was asked about that comment a year later, she doubled down. “I didn’t even say ‘men’ — I said ‘people!’ And they got so angry. I was like, ‘You’re proving my point. You’re proving my point!’”
There were also some woke criticisms that came from comments claiming Supergirl doesn’t live “inside the binary of what a woman should be.”
And it’s definitely Millie Alcock’s fault for saying these things. But not for the reasons you’d think.
Reporters asked her questions that they hoped would get these very responses because reporters know that these responses go viral. So they asked her in that first response what she thought about toxic fandom in regards to House of the Dragon. And they asked her, in that second response, if Supergirl is a good role model for queer people.
In other words, they were baiting her. And she took the bait. And she only took it twice but that’s all that was needed. People turned on her hard after that.
This is part of being an actor. You have to know that the media is not on your side. They are only there to get things from you that help them. And so you sometimes have to swallow what you want to say and instead say what’s best for your project and your career.
There’s a reason that nobody can quote a single thing that Leonardo DiCaprio has ever said in an interview. Because he knows the game the media is playing so he’s deliberately boring. He gives them nothing to print.
The other option is to be like Inde Navarette (Nikki in Obsession). She is the most beloved actress in town right now and she would never ever make a mistake like Millie Alcock made. She was recently cornered by the press asking her about the rumors she might play the lead in Michael B. Jordan’s movie adaptation of the popular book franchise, The Fourth Wing.
This was her response: “I have seen this because I said that I’m a really big fan of Fourth Wing and I would love to play Violet. But I mean, at the end of the day, I really want the studio to find who they want to find and what everybody thinks is like the perfect actress. But if that happens to me, that would be phenomenal.”
You don’t get the sense that Millie Alcock could respond like that. And she’s paying the price for it.
Look. Supergirl was a miscalculation on a giant level. The biggest miscalculation was betting on a third-tier superhero at the tail end of the movie superhero era. People aren’t seeing superhero movies at nearly the same clip anymore. The only ones that do well now are the big dogs. So, if you want to identify the core issue that caused this movie’s failure, that was it.
Millie Alcock’s attitude only exacerbated that problem. And it’s something I believe Gunn was aware of. So he made sure that Supergirl was going to have a big “save the cat” moment early on in the movie so that we fell in love with her. The save the cat scene we got? Supergirl is drinking in a bar when a giant alien steals a little girl’s dead father’s sword. Supergirl then goes after the alien to get the sword back for the girl.
What struck me most about that scene was how little I felt afterwards. I did not think, “Wow, I really like this person.” Which is the primary thing that the save the cat scene is designed to do. But I didn’t feel that way and I suspect it was because Supergirl was pissed off the whole time that she had to help this little girl. So it negated the action.
On top of that, reluctant heroes are notoriously difficult to write, since characters who don’t want to do the very thing the story requires them to do create a tricky puzzle for screenwriters. In storytelling, it always works best when the person pushing the story forward wants to achieve the goal.
The best I’ve ever seen the reluctant hero work in a screenplay was Braveheart. William Wallace hated every second of his quest. But he also loved his country more than anything and wanted freedom for his people. So, that helps a lot. When your hero is doing things for others rather than himself. And even though Supergirl is technically doing this to save her dog, she feels like she’s only in this for herself.
I think one of the more interesting subplots of the downfall of superhero movies is the bizarre choice by both Marvel, with Thunderbolts, and DC, with Supergirl, to center their stories around depression.
I’m not saying depression shouldn’t be discussed. I just think it’s a tough fit for a genre built on wish fulfillment and escapism. People go to superhero movies to feel uplifted, not to spend two hours watching superheroes wrestle with the same problems they brought into the theater.
I don’t know. Maybe they thought with Joker’s success that they could bring in a new “depression era” in superhero movies. That everyone was now going to get all jazzed to see depression trilogies. I got news for you, Hollywood. AIN’T GONNA HAPPEN. You want to explore depression, do it with a 15 million dollar film. Not 200 million dollars. Cause these are the results you get.
But the funniest story to come out of Supergirls’s failure is the battle between the “needle drops.” For those who don’t know, I guess because of his Guardians movies, James Gunn has anointed himself the king at being able to drop just the right song at just the right moment into the climactic sequence of the movie, delivering an epic finale.
Because Supergirl had been testing in the 60s (that’s really low) for months before its release, they were looking for every way possible to bring that score up.
Their big solution? The needle-drop moment!
Apparently, there was then a battle between Gunn and Supergirl director Craig Gillespie about what the needle drop song should be. And they went back and forth on it and they had all these meetings and they even tested different needle drops with different audiences.
Dude.
If you’re depending on a needle drop to save your movie, your movie’s dead. It is six feet under. Maybe that’s your needle drop. Billie Eilish’s Six Feet Under.
I think Supergirl just had too many things working against it. It’s too bad because everybody says the comic book the movie is based on is amazing. But not all comic books are meant to be turned into movies. And I think that having an unlikable protagonist combined with a not very likable actress was the nail in the coffin.
Do you have some amazing high concept movie ideas? Starting next Friday, you get to pitch them!
The High Concept Club Contest starts Friday July 10th!
Last year, we had the screenplay pitch contest of the century, The Blood & Ink Contest. And this year? We’re going to one-up it, with The High Concept Club Contest.
If you weren’t around last year, the way it works is, you can pitch me 5 movie loglines each weekend for four weekends. I’ll tell you right there in the comment section whether it’s a ‘yes,’ a ‘no,’ or a ‘maybe.’ The goal is to get one of your ideas approved by me, in which case, you will be officially entered into the contest. You will then have six months to write your script. The contest, like all Scriptshadow contests, is free.
My standards are going to be high. I lost count of how many loglines were pitched last year but I think it was somewhere around 6000? And just 90 got through. Why is the bar so high? Because the whole point of this contest is to only approve scripts that have a shot at selling.
The problem with screenplays on the amateur level is that everyone writes whatever the heck they want and doesn’t figure out beforehand if producers would actually be interested in making that movie. There are numerous avenues towards getting a script made. But this contest is about finding ideas that have a legitimate shot at getting managers, agents, producers, and studios interested.
Wildman, the Bigfoot pitch from last year, is into 10 production companies as we speak. And even the people who passed were excited when they heard the pitch. That’s exactly what this is about. It’s about writing scripts we know production companies around town are going to be excited by.
So, now comes the obvious question. What is “High Concept?” Cause we always bump against a definition whenever we talk about it. High Concept will always be, on some level, up to interpretation. Part of this contest is likely going to be people realizing, after the fact, that their concepts aren’t big enough.
But, to give some context to it, here are some definitions to work with…
Michael Hauge: A high-concept film is one with a unique premise that can be easily communicated and attracts a broad audience.
Terry Rossio: A concept that is inherently intriguing before execution enters the equation.
Justin Wyatt: Movies built around a striking, marketable premise that can be easily promoted through advertising, posters, trailers, and ancillary media.
Carson Reeves: A high-concept is one where the premise itself creates immediate excitement, curiosity, and marketability before execution enters the equation. If I can hear the pitch and immediately see the poster, trailer, and movie, it’s likely high concept.
As far as strategy for this contest goes, you can practice pitches in the comments section of this post and get feedback. That way, you’re not wasting pitches on weak loglines that people already told you sucked. By the way, if someone pitches a weak logline here, tell them. Don’t coddle them. Cause if you do, they’re wasting a pitch next week.
If you don’t want to do it publicly, find a few people on the board to privately share concepts with. If you want to go straight to the horse’s mouth, get a logline consult from me ($25). In addition to my analysis and rewrite of the logline, I’ll tell you straight up if it has a shot at getting into the contest. I believe that four entries in the Blood & Ink Contest came from writers who workshopped loglines with me. But, it’s no guarantee. I rejected a lot of those as well.
E-mail me at: carsonreeves1@gmail.com if you want a logline consult.
And just to give you a little more context, here are some high concept ideas that were turned into movies….
Inception – A thief who steals corporate secrets through the use of dream sharing technology is given the inverse task of planting an idea into the mind of a CEO.
The Purge – A wealthy family is held hostage for harboring the target of a murderous syndicate during the Purge, a 12 hour period in which any and all crime is legal.
Obsession – After wishing his crush would fall in love with him, a hopeless romantic finds himself getting exactly what he asked for, but that love soon becomes a dangerous and violent obsession.
A Quiet Place – In a post-apocalyptic world, a family is forced to live in silence while hiding from monsters with ultra-sensitive hearing.
Yesterday – A struggling musician realizes he’s the only person on Earth who can remember The Beatles after waking up in an alternate reality where they never existed.
Beverly Hills Cop – A rough, street-smart Detroit cop has to investigate a murder in the most polished, wealthy, image-conscious place on earth — Beverly Hills.
Good Will Hunting – When a janitor anonymously solves a mathematical proof that has stumped the brightest minds at MIT, a professor takes him under his wing and tries to steer him toward greatness, only to discover that the young genius would rather cling to the life he’s always known.
Free Guy – A bank teller discovers he’s actually a background character in an open-world video game and decides to become the hero of his own story.
Freaky – After swapping bodies with a notorious serial killer, a teenage girl discovers she has less than 24 hours before the change becomes permanent.
65 – After a catastrophic crash on an unknown planet, a pilot discovers he’s stranded on Earth during the age of dinosaurs just 12 hours before the meteor that wiped them all out hits.
Novocaine – When the girl of his dreams is kidnapped, a man with a rare condition that prevents him from feeling physical pain turns his disability into an unexpected advantage.
The Gorge – Two elite snipers stationed in watchtowers on opposite sides of a mysterious gorge are forbidden from communicating or entering the chasm below, but when they uncover evidence that a deadly secret has been buried there, they must risk everything to investigate it.
Genre: Horror/Action
Premise: After her family is murdered by the mob, a religious woman lets herself become possessed by a demon in order to get revenge.
About: The Blood & Ink Horror Screenplay Contest is a unique screenwriting contest whereby, six months ago, you had to pitch your way into the contest. Scripts either got in with a “yes” by me or they got at least 15 upvotes when pitched in the comments section. The 90+ writers that were chosen then had six months to write their script. I will occasionally review one of the scripts here. If you want to see the previous Blood & Ink reviews, you can do so here, here, here, and here. For those who missed Blood & Ink, I am doing a brand new pitch contest starting Friday July 10th. Get those high concept script pitches ready!
Writer: Nicholas Cocco
Details: 96 pages
I LOVE this idea.
Love it love it love it. I think I picked this as one of the top 5 loglines, right?
Yeah. So I was really looking forward to this one.
Let’s check it out!
It follows Grace Rache, a deeply religious woman in her 30s. She’s married to Max, a war veteran who has no interest in religion, and together they have a teenage son, Wolfgang, who doesn’t believe in God either. So when it comes to faith, Grace is pretty much on an island by herself.
Max and Wolfgang run a breakfast shop in the city. Right next door is a Wiccan shop run by an elderly woman. One day, two mobsters, Cesare (20s) and Nico (40s), show up and inform the old woman that she’ll be paying them for protection. She tells them to fuck off. Wolfgang happens to be nearby, steps in, and knocks Cesare to the ground. That quickly escalates into a standoff between Cesare and Nico on one side and Max and Wolfgang on the other. The gathering crowd eventually convinces the mobsters to back down and leave.
Unfortunately, they come back later to send a message. But things get out of hand, and Max and Wolfgang end up dead. A few days later, we see Grace mourning. She struggles to move forward until the old witch pays her a visit. She presents Grace with an ancient jar containing a demon and explains that if she allows it inside her, it will help her get revenge. Grace doesn’t need much convincing. She’s in.
Next we meet a terrifying wraith, which we eventually learn is Grace in demon form. The wraith begins hunting down members of the mob one by one. One is taken down in a butcher shop freezer. Others are attacked inside a moving car. The creature is fast, powerful, and seemingly able to appear and disappear at will. After Grace kills Nico, his brother Frank, the head of the family, gathers everyone together to figure out how to stop this thing.
Meanwhile, Grace, or more accurately the demon living inside Grace, catches the attention of Father Vincent, who becomes determined to destroy it. So while Grace continues her bloody war against the Family, Father Vincent launches one of his own against her. Eventually, only Frank and his son Cesare remain. Grace tracks them to an abandoned live munitions island, where the story builds to a long, brutal fight to the death.
Okay, so I’m learning a valuable lesson from this experiment.
It would’ve helped if I’d given guidance on the outlines for these scripts before they were written. Because this doesn’t represent the idea that I imagined. And, if I would’ve seen this in outline form, I could’ve helped Nick nip some of these choices in the bud, and set him on a path to a more powerful screenplay.
So, I think what I’m going to do for the upcoming high-concept pitch contest is offer the top 10 finishers just that – An outline evaluation. Cause I would’ve strongly encouraged Theresa to go with one main character instead of two in Worst Time of the Year. I would’ve encouraged Jake to build a more all-encompassing mythology in Black House. And I could’ve helped avoid the structural issues with Eric Levin’s The Mold.
That’s why I always encourage writers to get consultations BEFORE they write the script. An outline consultation can eliminate problems that might otherwise take three or four drafts to discover. It’s one of the most efficient investments you can make. If you’d like an outline consultation or a screenplay consultation, e-mail me at Carsonreeves1@gmail.com.
Okay, so what are the issues in Devil?
I’d start with the wraith. The whole point of this movie was to see this woman take down these bad guys. But, instead, we start her off as this shadow-like wraith who’s basically Venom.
To me, that defeats the purpose of the screenplay. I don’t want to see a 1000 year old monster get revenge on people who never did anything to him. I want to see the woman whose situation I’m devastated by, someone I empathize with, I want to see HER get that revenge.
So, as soon as that wraith showed up, a big part of me gave up on the script.
To Nick’s credit, he seems to catch a second wind in the second half of the screenplay and give me something closer to the movie he originally pitched. The showdown at the church, the family going for outside help from other crime families, the climax on the island, Grace in human form — that was more what I was originally envisioning. But a lot of it came after I’d mentally given up on the movie.
That’s the thing with screenplays. You can be one of the screenwriters whose script doesn’t hit its stride until the middle of Act 2. But if the reader mentally decommitted on page 17, it’s pretty much impossible to get them back.
And there are other problems here as well – things that, had they not happened, maybe I would’ve stayed with the script longer. For example, we never see Grace react to her husband and kid being killed!!!!!!
The first time we see her reaction is at the funeral standing in front of the caskets. And she doesn’t even seem that upset. She’s just numb. This whole movie is about revenge. It’s about making this extremely difficult choice to bring a demon into your body so you can achieve something that you are diametrically opposed to — revenge and killing. If a character like Grace is going to make that choice, we have to see her devastation. That’s the only way that the choice makes sense to the audience. And for some strange reason, we never see that.
There were other basic mistakes early on. A key scene occurs when Nico and Cesare are trying to choose which shops on the block are good for hitting up. We’re not told what they want from these shops. That information is kept secret for some reason. Then, out of nowhere, we cut to inside the Wiccan shop, and Cesare is standing in front of a “crone” (note: I don’t know what a crone is), and we hear this line from the crone – “Don’t need protection, boychik.”
That’s the first line we hear after being thrown into this context-less situation. My best guess, at the moment, was that “boychick” implied some sort of sexual connotation. Like a ladyboy maybe? And so the word “protection” following indicated ‘sexual protection’ to me. Condoms maybe. I have no idea why that’s being talked about here but that’s the best I can do with what little information has been handed to me.
This then leads to Wolfgang coming out of nowhere, knocking Cesare down. Then running away, which leads to Cesare and Nico confronting Wolfgang and Max. Which leads to Cesare and Nico later killing them.
Only in retrospect do I realize that the Italians were going down this block, forcing shops to accept “protection” for money. And that’s what the scene was about. With this scene being so incredibly important to set up the story, why are we coming into it so late? Why open the scene mid-conversation with a line that can be so easily misinterpreted??
This scene sets up your whole movie!!!
Make it clear as hell!
And make it an actual scene!!! With a beginning, middle, and an end.
That shop scene is half-a-page long. It should’ve been 4 pages long. You build it up. You give us all the information we need so we understand what’s going on. Then, and only then, do you introduce a disruption.
I knew after that scene that the script was in trouble. Because those scenes should be easy to write. It’s the later scenes where you try and get deeper into the characters and create interesting plot developments — that’s the hard stuff. This setup stuff should be a piece of cake.
Maybe Nick thought, “I know I’m not supposed to be on the nose. So I’m not going to have the mobsters explain exactly what they’re doing.” And “Screenwriting books tell me I need to move the story along quickly, so I’ll jump into this scene really late.”
I mean, we come into the scene so late and with so little information that I didn’t even know why Wolfgang was there. I know Max told him to go in there for some reason. But I was not told why.
Sometimes I think screenwriters tie themselves in knots trying to do things the “right” way. This scene needed to convey important information. So convey the information. Don’t convince yourself that making the scene cryptic somehow makes it better.
Just to reiterate why I fell in love with this concept. I imagine this woman who couldn’t physically beat up a teenager, much less mobsters with guns. Her husband and son have been killed by the most powerful crime family in the city. The police won’t help her because they’re in with the family. No one else can help her because the family is so powerful.
Then she gets this opportunity to be possessed by a demon that will give her the strength to be able to take the family down all by herself. But it’s a demon. So, there will be problems containing it.
But she’s instructed on how to bring it forth when she needs to and put it away when she doesn’t. Of course, it doesn’t go that smoothly. When she doesn’t need it, it still wants to come out. And so even in her normal life, she’s struggling to keep it contained until the revenge is over. Then, at the end, she has to get it exorcised. Which is no given. And that’s your movie.
And just to be clear, I know writing scripts is a lot harder than criticizing the final effort. I sense that Nick struggled with how much horror he could stuff into this premise and made some creative choices that I didn’t agree with because of that. But I would tell Nick to always follow the path that gives you the best movie, not the path that fits you the most squarely into the correct genre.
Script Link: Let the Devil Loose
[ ] What the hell did I just read?
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius
What I learned: Your bad guys have to be formidable. At least the ones at the top of the food chain. Because if there’s no doubt at all that Grace can eliminate these guys, then there’s no suspense. There’s no uncertainty about what’s coming on the next page. Make Frank and one more guy super formidable. Maybe they even get their hands on some anti-demon weapons. I want to feel like Grace is overmatched in this final battle.
It is now 1am Pacific Time. You should have the newsletter by 3am Pacific Time.
Oh man. In the annals of newsletters, this one is up near the top. We’ve got celebrations in this newsletter with writers who are breaking into the business through Scriptshadow. We’ve got a giant new announcement for a screenwriting contest that I know you’re going to love. I review one of the single biggest spec sales of the year. This one had 40 producers chasing it. And I try to figure out how a nobody screenwriter nabbed one of the hottest screenwriting jobs in Hollywood, as well as dissect her movie, Supergirl. Is it as bad as everyone’s saying? James Gunn is Mr. “I Don’t Put Movies Into Production Until The Script is Great.” So… is the script great? If you don’t read the newsletter, you’ll never know. And if you don’t read this particular newsletter, your life in July will literally be 87% worse.
If you don’t get my newsletter, e-mail me at carsonreeves1@gmail.com and I’ll send it to you.
I’m currently busy putting together a newsletter so posting will be erratic. But I couldn’t help but notice the Supergirl reviews and box office projections since the review embargo lifted this morning. By all accounts, the movie is pretty bad and it looks like it will make something in the 45 million dollar range opening weekend, which is an incredibly low number for A DC movie.
What hit me about this was that you now have three of the top 5 franchises in Hollywood — Marvel, Star Wars, and DC — all with their most recent movies being, if not the lowest grossing ever in the franchise, very close to it.
Star Wars – Mandalorian and Grogu
Marvel – Captain America: Brave New World
DC – Supergirl
To me, there couldn’t be more concrete proof that the 2005 – 2020 model of moviemaking is over. Studios clearly no longer understand what the audience wants anymore. They’re using outdated models. Their live-action franchise behemoths are lost.
And I know this is not an all-encompassing take. The full conversation is messier. Toy Story 5 just did better than any Toy Story movie ever. Marvel will come out with Spider-Man soon and that’s projected to make a ton of money.
But Spider-Man’s success is more about Tom Holland being perfect for the role. That screenplay actually looks like a mess yet it won’t matter. And quality made family-friendly animation is always going to do well because it’s one of the only options out there where adults will gladly take their children to the movies.
But as far as the “cool kids” franchises that I mentioned above, Hollywood has no idea what’s cool anymore. That’s why Obsession shocked them. They didn’t know that was cool!
It was so interesting. I recently stumbled upon this old clip of The Emperor’s first appearance in the Star Wars franchise.
Then, after watching that clip, I noticed Youtube suggesting another Star Wars clip, this one from Dave Filoni’s brainchild, the Ashoka Disney Plus show. Dave Filoni, for those who don’t know, was recently promoted to be the top dog at Lucasfilm. He’s in charge of all Star Wars going forward and really wanted to bring Grand Admiral Thrawn into the franchise.
Thrawn was introduced into the Star Wars universe as the next great villain, the replacement for Darth Vader, after Star Wars, Empire, and Jedi. He first appeared in the Timothy Zahn book trilogy. This was before Lucas had plans of doing any more Star Wars movies. He was going to end it with Jedi. So, as far as the Star Wars fans knew, this was the only Star Wars left.
And Thrawn (pictured to the left on this cover) was a badass. He wasn’t Vader. But he was original. And he was cool. Filoni then decided to bring him into live action and his unofficial plan was to move Thrawn into a larger role, eventually becoming the big baddie of the Star Wars movie universe, like Vader was.
So, here’s that Thrawn introductory scene…
For starters, there’s a clunky mythological element to the proceedings. The stormtroopers are kind of beat up and have their individual signatures in a way that feels cheesy and dumb. The way Thrawn’s entrance is shot is incredibly plain. The actor playing the role looks out of shape and unimposing. You have this embarrassingly on-the-nose score where you actually have the singers belting “Thrawn Thrawn Thrawn” over and over again. I mean, is this Star Wars or the Jennifer Hudson Spirit Tunnel?
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But, worst of all, the second Thrawn speaks and we hear his squeaky high-pitched voice, THAT’S IT. Nothing you do after that matters. We’re not scared of this man. He’s not imposing in any way. My mind was actually wandering 10 seconds after he started speaking. That’s how little he commanded the screen.
Why does this matter? Because Dave Filoni cast this man. And Dave Filoni is now in charge of all of Star Wars. If he’s THAT WRONG about one of the most important characters in the Star Wars universe, how wrong is he going to be about all the other less-important stuff?
I say it from a place of anger but the truth is that I’m sad. I’m sad that my beloved favorite franchise is on life support. It’s gotten bad enough that I’ll watch these AI Star Wars movies on Youtube sometimes.
But regardless, I’m sad that there’s no good Star Wars anymore. I’m sad that there aren’t cool superhero movies anymore. I know some people hated them but my feeling about going to the movies is not that I want to have some big important intense experience that makes me think for days. I JUST WANT TO BE ENTERTAINED. I WANT TO HAVE FUN. And these movies have lost the thread on how to have fun. They’ve been replaced with “HOW TO BE BORING.”
Sometimes they say that you need adults in the room to fix the problem. But I’m starting to think, with the success of these Youtube movies, that we actually need kids in the room. People with fresh ideas. Because while I know that the old guard understands how to tell a story better. They don’t know how to surprise audiences. We need something different and fresh and unexpected. Cause I want to go to the movies and be entertained again.
What about you?
