#creating epic revenge plots

[transhawks]

this fandom doesn't get dabi tbh. Like outside of the aesthetic, if given half the chance, he would have become a workaholic to rival his dad. Like he'd complain about it more than Enji tho, but he'd still be out there working his ass off.

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[overdecorated-furniture]

Dead Parents - How to avoid them.

We are all very familiar with the notion of dead parents in fiction. For example, Harry Potter’s parents are dead before the first book even starts. Or in Portrait of Dorian Gray, the protagonist is brought up by an absentee and very neglectful grandfather. It’s a trope used again and again. And it does kind of work. It certainly allows your young protagonists the opportunity to gain agency and find their own way in the adventure thrown at them. But it’s also rather predictable. As a reader, we don’t sympathise as much because it’s such a used trope.

So, here are some of my thoughts about how to avoid the dead parents trope, and still propel your characters into the action.

Kill Someone Else.

I know, violence isn’t supposed to be the answer. But characters don’t only have close relationships with their parents. If your plot centres around a revenge quest for a dead loved one, it doesn’t have to be a parent.

Siblings who got caught in the crossfire trying to protect your MC, or an aunt/uncle they were close to being poisoned works just as well. Best friends are also a useful source of grief, and the fact it’s someone outside the family perhaps gives your MC more of a push. Equally, a significant other may work, although that is a used trope too. It might even just be a beloved pet.

Use their Morals.

People in the real world do not simply act out of revenge for the death of a loved one. Character morals can be just as powerful a motive for action, and Young people in particular are just beginning to discover what matters to them, and so it feels at its most important.

Perhaps your MC feels that the magic system in your fantasy world does not allow for people with disabilities to have access, and so uses that as their springboard. Or in an apocalypse setting, the desire to protect fellow humans against a threat may act as the MC’s launch pad for setting up a safe base somewhere. Concerns over equality, safety, climate change, government choices and even things as small as how cereal is marketed can motivate a character into changing their world/current situation.

Create Conflict.

Arguments, breakups, scrappy fistfights with someone in a back alley. Conflict is one of the spokes of a story, as it creates opportunities for moving the plot forward, and can hold the characters back from achieving their aims. Using this to start your character’s story arc makes for an explosive scene, and allows immediate sympathy with the situation they are in. Everyone argues, has had someone they care about walk out of their lives, or has at least been punched, so the familiarity of a minor but important conflict helps the reader associate with the character, as well as setting up any skills the character has or may need in order to defeat the foe at the climax of the story.

Parental Encouragement.

In a good family situation, parents will want to support their children and young people in achieving their goals. And the same can be true in stories. Perhaps your character wants to learn to play hockey, for example. Their parents can very easily encourage them to join a practice group, help them buy kit, and encourage them to play in matches. Having a supportive adult can mean as much to an MC as having said support removed, and although this doesn’t work for epic fantasy revenge quests, it does create a welcoming atmosphere for a reader.

Those are the main ones I can think of off the top of my head. Do add in comments/tags any you know of!

Happy writing!🌿

[tae-rhymeswithslay]

TMNT Hottake: TOTTMNT was disappointing (in my opinion)

i know i know!! i shouldn’t be putting down the new gen of turtles bc thats what every past gen fandom does to every single new iteration BUT this is my blog and i do what i want. Also, thisnis my OPINION feel free to disagree or debate.

SO MUCH wasted potential

GUYS the amount of openings the MM movie left for the series to branch off of was crazy. The Shredder and Cynthia Utrom and her extremely likely connection to the Kraang the were obviously plot points the writers were saving for the second movie and the turtles also couldn’t have drastic character development because of that, but still. The first movie left off on the turtle’s going to high school and regular kids, which was a concept that hadn’t been explored before in the franchise. And the show just. Didn’t. They didn’t go into their school life beyond passing comments about homework and wrestling. We could have gotten a silly shenanigan filled episode of the turtles trying to find after school jobs or clubs or even how they dealt with their newfound fame. That would have been epic.

2. Lack of story content

Really, we only got two complete stories from the series. part one with bishop and then part two with goldfin and even then neither villain really stuck out to me. Bishop had that inciting moment that tied her into the first movie with her mechazoid getting crushed by the superfly mutant. But then her ‘revenge plan’ still felt shoehorned in like they were trying to make a morally complex villain and failed. Her side backstory with her sister just fell flat. i’m sorry, I love sweet sibling bonds, but we just weren’t given enough information or time about Elena for me to personally care about her. Then at the end when bishop turned herself in and then immediately relapsed into villainous territory, I was like “wow, i can’t wait to see her descent into madness as the second half of the series progresses!” but then she was just pushed to the side COMPLETELY in order to start the goldfin plot line. Where Bishop was a fresh take on a classic character, Goldfin and the East River Three were completely new characters created for TOTTMNT. i can kinda see what they were going for by starting off with whats familiar to fans and then branching out into more creative territory, but the shift between stories was so jarring, it felt loke i had just started a whole new series entirely- though, now that i’m typing this out, that also could have been the feeling the writers were going for since part one was told through Leo’s point of view and part two was told through Raph’s. The writers might’ve purposefully made the transition choppy.

3. Personal gripes, aka my fave characters were not there

CASEY!! CASEY MY PRECIOUS LITTLE BOY WHERE WERE YOU?!! Casey was never named as a character in the show, but i will bet my bottom dollar that they were one of the unnamed purple dragons. I have theories that either the boomerang dragon was casey (really really hoping he was. he was my favorite dragon outside of Hun and Angel) or the knife-stick hockey girl was Casey (girl casey truther fr) and i really hope the bucket hat dragon is Keno bc that man NEEEDS to make a comeback. Theres really not much to say about this reason. MONA ALSO WASNT THERE. ik it would’ve been hard to do a space arc in the very limited number of episodes, but it would’ve made my 2012 and 1987 loving heart to see her just make some kind of appearance.

THINGS THE SHOW DID RIGHT!!

guys, i’m not a complete hater believe it or not

no uncomfy crushes/relationships/love triangles

after the Apritello disaster of 2012, i was waiting with bated breath to see how they would handle the Leopril romance introduced in MM and i was pleasantly surprised. It felt so much more genuine and like a realt teen crush. Hes so much more chill about it than Donnie ever was, but he is still clearly very in love and its all so sweet to watch.

2. The ANIMATION

HOLY SHIT WHERE DO I EVEN BEGIN?? it was nothing short of STELLAR- the subtle style changes as the turtles perspectives shifted?? UGHHH!!! i wanted to consume my phone. THE FIGHT WITH GOLDFIN???!! JAW!! ON THE FLOOR!!!

[streets-in-paradise]

I'm in the mood for other short troy meta debating with some of the most common perceptions I have seen about the film.

Following the line of my other posts on the topic, I want to talk of how I never understood the claim that Achilles' thirst for vengeance was cheapened or downplayed because it was made about a relative.

Here i'm going for the " WHO cares that much about their cousin?" argument.

Look, I totally understand people can be frustrated because they expected romance and the movie made it about family, but HOW is it any less of a tragedy because they are related? In the film, Patroclus is not just his cousin. Not only he was little brother coded, the story makes it clear that Achilles feels very responsible for him since the lad became an orphan.

Fun fact: in the (luckly rejected) first draft of the script he was going to be his son. When Benioff did the rewriting, the family relation was changed to cousins, but something of the spirit in the first script remained in their dynamic.

Like i said before, it also had a plot function creating a pretty much in your face parallel with Hector and Paris.

Patroclus being like the little brother Achilles feels responsible for and he failed to protect brings him even closer to Hector. He is moved by the same motivation causing the death of Menelaus, Hector knows he is a dead man the same way the spartan king seiled his demise when he threatened Paris. It even creates a tragic parallel between Achilles and Agamemnon!

At the start of the film Agamemnon has for Troy the intentions of a colonizer. Destroying it is not in his original plan, he wanted to take over the economical and militar control keeping the trojan rulling class enslaved to mycenaean interests. The death of his beloved brother triggers this monstruous thirst for vengeance the movie uses as vehicle to explain the horrors of the sack of Troy.

In a similar way, Achilles' plans for his eventual combat with Hector were merely about personal glory. When he has the first chance of killing him, he doesn't do it because he doesn't have enough audience to make it epic, and he has nothing personal against him. With the death of Patroclus, he ends up desecrating the body of Hector guided by the same blind rage Agamemnon keeps since the death of his brother. The marks he leaves on the remains of Troy's fallen hero are an omen for the wounds Agamemnon will inflict in Troy itself later on.

In both cases, it leads to their deaths, but with different meanings. Agamemnon is at the peak of his vengeance during the destruction of Troy, he orders for no one to be spared and attempts to attack Briseis as perfect culmination of it.

His death is not only a defensive act, but a revenge for the whole fallen city. In contrast, Achilles feels remorse for what he has done, gets inside the horse with the sole purpose of fixing something up, and ends up paying with his life when Paris gets revenge for his brother.

Unlike Agamemnon, who is surprised by death while going through the more evil version of that peak on revenge satisfaction he experienced when he dragged Hector's body with his charriot, he embraced the death he knew was awaiting him as a redeeming experience.

Achilles cares for his cousin with the same affection Agamemnon and Hector had for their little brothers. He killed Hector moved by the same grief leading Agamemnon to destroy Troy in memory of his brother because Hector couldn't watch his own brother die.

The film presents a tragedy structured on a chain of revenges moved by family. You are totally valid in disliking that, but it doesn't make it any less tragic.

[moreespressoformydepresso]

EPIC: The Musical has me in a chokehold so I made a TBOSAS AU where the tributes are all eldritch creatures whose true might was dormant. Maybe reaping them at the same time was a rebel plot, maybe it was divine intervention, but it happens. It happens and the stress of the situation causes one of them to snap. The others soon follow.

All have eldritch forms tied to an element. Ones that aren’t the traditional four count (so metal, void, light etc). They have minor control over that element aside from the eldritch form and can spawn whole realms where their inner creature thrives which only they can access. So a creature tied to the element fire can be resting in their own personal badass volcano lair and then spawn in the ‘real’ world via a portal in the form of a flame. They can create the flame too, but they can’t travel very far and there are ways to mess with the teleportation. Also, the kids retain a version of their human form even when they’re ‘transformed’ because their eldritch form isn’t an alternate form, it’s more an extension of them that’s hidden until they reveal them. I’m using the word transformation because it’s easier. I’ve got many ideas but I’ll start with what inspired this AU: Treech as Scylla in the song Scylla.

I’m going with snakes over the dogs sometimes used in mythology because I think it’s more terrifying (and also I’ve seen one animatic with adorable serpents and fell in love with the big eyes and boopable snouts and massive razor sharp teeth dripping with blood). Treech’s eldritch form is a base with six ginormous serpents sticking out of it. If his human form’s attached to it, he’s a part of the base, usually with only his upper body visible. He has scales with a gradient of forest green, indigo, and Persian blue. When fully transformed, all of his eyes are a glowing icy blue or maya blue (I want to make them fully black but with all the dark shades that’s less terrifying imo) and his human form has lines of scales going in spirals down his body and creeping up on the edges of his face. When Treech starts his transformation, his pupils turn into predator slits and his irises turn light blue. The blue spreads out until it takes up the whole eye. When he gets mad, it might bleed into the veins around his eyes. The serpents themselves start out as glowing outlines all over his skin like tattoos that start to peel off and slowly grow to the terrifying size of his full eldritch form.

The part in the song after Scylla says “hello :)” is the part where he transforms, his voice slowly sounding more and more inhuman (he can sound like a human but like- go big or go home right?) and instead of just killing six people he massacres whole squads of peacekeepers (though he spares innocents like kids because he’s determined to rub it in the Capitol’s face that a literal man-eating serpent monster is more compassionate than they could ever hope to be) in his quest for both vengeance and freedom. It’s not even the biggest slaughter in the big revenge spree the tributes go on together, but still. I’m giving Treech vague siren-like aspects (his singing voice can cause a loss of focus and amply emotions like fear) instead of the telepathy Scylla has in EPIC. A little nod to the song that started this AU.

I might continue this and I’m working on some art for this AU (might post, might not, I’m not sure yet).

[agentnico]

Gladiator II (2024) review

Been there done that.

Plot: Years after witnessing the death of Maximus at the hands of his uncle, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.

So me and my wife only recently rediscovered the first Gladiator film and having previously only watched it once when I was a child I evidently did not appreciate the grandiose mastery at play, as that first Gladiator movie is fantastic. From the powerful performances to the epic action to the high spectacle set pieces to Hans Zimmer’s incredible emotional music score…. makes me think of that meme with Homelander proclaiming “it was perfect!”. Truly me and my wife would both now say that Gladiator has sky-rocketed to the top of our favourite films of all time, and also makes me appreciate how great of a director Ridley Scott once was. He still makes some decent projects now such as The Martian and The Last Duel, however he’s very much a hit and miss director at the moment. But back in the day with the likes of Alien, Blade Runner, Thelma & Louise and the aforementioned Gladiator, the guy can like REALLY make a movie! As such having grown a new appreciation for his Roman epic, I was really looking forward to but also sceptical over the upcoming sequel. For one due to so much time passing since the original, and also lack of Russell Crowe for obvious reasons and the trailers suggesting that this new one is essentially a copy of the original. The latter aspect especially was a concern, for the original film was a multiple Academy Award winning motion picture, so trying to recapture that same flame would be silly. So my hope was that Scott and the team would try and do something new and different whilst still in-keeping the world created by the original film. Question is, was it worth all this wait, and more importantly, was I entertained??

Look, I don’t one to be one of those snobs who compares a sequel to its original, but it’s difficult not to (so seems like I’ll be snobbing it today!) due to the reputation of the first one, as well as the fact that Gladiator 2 (or II if you’re into your Roman numerals) is in essence a repackaged version of the first movie. Well, part of it is. The whole plot line involving Paul Mescal’s Lucius going on his revenge quest into the Colosseum is that rehash, and unfortunately it is the primary storyline of the film. The issue with this is it naturally ends up living in the shadow of its predecessor. The other more interesting narrative is one that involves acting legend Denzel Washington (spawning a lovely American accent in Rome but the man is so entertaining to watch you cannot help but forgive him his transgressions) where he tries to take over Rome by weaselling his way to the top of Rome’s political hierarchy. That stuff is actually great, and him manipulating the two emperors and causing their eventual downfall was really intriguing to witness. Shame that this story beat only really came to full effect in the last 30 mins of the movie.

As for the performances, as this one boasts a stacked cast. I’m sorry to Paul Mescal fans, but he’s really stale and bland in the main role of Lucius, or more-so Maximus 2.0. It doesn’t help that the script by David Scarpa lacks any depth or character development that made the original Gladiator so compelling, but even on the basics of acting Mescal doesn’t do much with his role. Like his wife dies and I never really felt like he gave that much of a crap. Or whenever he had to deliver any level of emotion, I never felt it. In the original Russell Crowe manages to portray so much through his eyes. The versatility of his face with watching him switch from emotion to emotion was actually incredible. For example when Commodus tried to goad him into attacking him, and you can physically see this breaking Maximus’ mind and then taking every ounce of being to hold his composure and pulling himself back together and then saying “I will kill you but not right now” or something along those lines….like guys that was pure cinema! So yep, Paul Mescal has none of that. He delivers what is supposed to be an inspirational monologue at the end of the film about strengths and honour and I did not give a single dollop of a turd.

Pedro Pascal was in this film less than I expected. Don’t get me wrong, I love me some Pedro, but here for the few scenes he’s in he spends moping about wishing for a better Rome, which was all good and sound only that that was his only character trait! Like seriously I cannot underline how weak of a script this movie has! Take the two tyrannical emperors for example. Joseph Quinn (aka Eddie from Stranger Things) to be fair as Emperor Geta was quite watchable, but his brother Emperor Caracalla played by Fred Hechinger was a straight up knock off of Joaquin Phoenix’s Commodus from the first film. Except that the brat that was Commodus was given the necessary build-up, as you could tell from the beginning of the movie that his dad (played by the late Richard Harris) was probably a terrible father who spent too much time wanting to build up the empire by endlessly invading everywhere rather than spend time with his children. As such Commodus is raised to be a wuss, so his actions in the film have sense. In Gladiator 2 though Caracalla literally is an unstable prick and that’s it. So again I cannot necessarily blame Hechinger as his performance was based on the limited info that was given to him, but this doesn’t result for a compelling character. Connie Nielsen is one of the only returning characters (aside from Derek Jacobi) from the first film, and I’ll give her props, she seemed to be acting her ass off, so much so that when she shared scenes with Mescal even he showed glimmers of emotion. Finally we have Denzel Washington, who to be fair from the trailers I expected a much more extravagant and absurd performance from, but nevertheless he seems to be having a lot of fun in this role, and to be fair the movie really turns up a notch every time he appeared. Also did not expect by the end of 2024 to be shipping Denzel with Tim McInnerny from Blackadder yet here we are.

The direction from Ridley Scott is strong to be fair, and the impressive set piece of the Colosseum and the tense blockbuster-level action fights in the arena were great to watch, now with the added flavour of baboons and sharks (yes, sharks). Costumes and make-up are all great and there was something nice about seeing a true historical epic at the movies. I give Scott props, he’s the only major filmmaker currently still trying to keep that genre alive, with his recent other releases being Napoleon and The Last Duel.

The music though by Harry Gregson-Williams is a very generic historical epic score, and very much a downgrade from Hans Zimmer’s masterclass work in the original. That’s the thing with Gladiator 2 - basically everything about it was done better by the original, and it really feels like it too. I’m still happy that this movie will be seen in the cinemas though (my screening was absolutely packed and most of the screening for the film on the day were sold out too) as it allows for the genre of historical epics to still live on. That being said though, I am not entertained.

Overall score: 4/10

[rist-ix]

The sparxshipping teasing from Iginio got me wondering.... if we ever did get canon sparxshipping explored, whether in a reboot or new adaptation, how would you like it for it to be done?

I'm gonna try to answer both of these in one post cause they overlap a little, but first of all thank you!

Buckle up fellas I'm bringing discourse.

This is gonna be a bit of an unpopular opinion I think, and it’s that I don’t want sparxshipping to be canon at all.

Feel free to get the pitchforks, but until then imma talk. I have villainships that I think not only add something to the overall plot, they kind of define it too. Reylo for examples, with its themes of redemption, masks and compassion, or Darklina and how important their relationship is to the war and Grisha oppression, or Lotor and Allura with its symbolism of breaking the cycle of abuse, making peace, reclaiming a heritage thought lost and so on.

To put it very briskly: an established Sparxshipping relationship adds nothing to the plot. It would have to be a plot of its own, and while there are tons of fascinating plot threads you could weave back into Domino, Bloom's family and the war before the Fall, it is simply, plainly, and rightfully so not the story Winx Club is telling.

Winx Club, at its core, is about the girls and their friendship. That is the show I love, and that is the show I am invested in. Fanfiction is a separate thing, I’ll get into that later. But canon, commercially produced and globally aired Winx Club is what we are talking about now. And the one defining truth of Winx Club is that it’s about the Winx. Their boyfriends are the side note, the Kens to their Barbies, to cement them as the cool popular teenagers younger kids are supposed to see them as. If Bloom and Valtor had a lasting serious relationship, Valtor would inevitably have to be shoved into that category as well, and that would ruin the entire appeal of him.

To boil it down even more: if sparxshipping were canon, either Winx Club would have to shift away from its intrinsic premise and formula, or Valtor would have to be diminished beyond recognition. So my longstanding opinion has always been: don’t make sparxshipping canon. Just don’t.

What I, personally, would do if I were ever to gain access to the mythical and likely overcrowded writing room at Rainbow SpA, is this:

Tease the fuck out of it.

Lean into their fucked up little hate-obsession. Every time they share the screen they have to be radiating unresolved sexual tension. Their chemistry has to be so off-the-charts it sparks a million fanfics before the season even ends. If there aren’t so many crappy amv's set to angsty Taylor swift songs it brings down the YouTube servers by midnight you have failed. Because canon is bound to certain limits, but fanfiction is NOT. The goal of any show should be to create something that will awaken an inescapable need to build on it, to continue where it left off, or to wonder but-what-if? To make people text incoherent keysmashes to their fandom buddies with shaky hands in the middle of the night and be unable to sleep until they’ve confirmed their buddy has seen it too.

I would want to see Bloom go fully I-have-lost-sight-of-everything-but-revenge until her friends manage to pull her back, I would want them to fight so vehemently the structures around them collapse and they don’t even notice. They should be in situations where they are UNDENIABLY going to die if they fight on and they still do it, they literally CANNOT stop, they don’t care to. To the point that everyone around them is seriously concerned and talking about their terrifying obsession with each other, more or less out in the open. And after a season full of epic fight scenes, high stake conflicts and frankly obscene tension between them, I would want Bloom to kill him.

Straight up.

Give her that moment of calm self assurance, at peace and perfectly in control, while Valtor tries to gaslight-gatekeep-girlboss his way out of this, contrasting the way her support network and genuine, unconditional friendships strengthen her while Valtor, who is always sabotaging everyone around him, is forced to confront his own powerlessness in the face of the power that created him. His manipulation attempts have nothing to latch on to. They have one last exchange where Valtor is visibly furious at her denial of him / his own failure — to really drive home that this is Bloom's triumph — but the last words they exchange are cordial. Maybe a comment at her growth, or a warning about his mothers, or another way to foreshadow future threats — if he couldn’t defeat her, no one should. He ends on a high note, but he does end, and it’s at Bloom's hands. She retakes the corrupted spark into the Flame she is guarding, and that is that.

And then, and this is important. He fucking haunts her for the entire next story arc. The next season, the next two seasons maybe, because she has learned a fuck ton of things from him and it is really, really difficult to move on knowing everything she does, knowing everything he implied or hinted at, or simply knowing so many really, really cruel ways to get her way now, which isn’t who she wants to be, but it would be easy, quick and effective for the greater good, right?

Boom, character conflict for the next season established, lots of potential for future flashbacks or visions, Valtor stays on his high horse of forever-the-juiciest-fucking-villain-of-the-franchise and the story can move on.

The End

Cue three decades of mind-blowing fanfiction. We all say Thank you Rainbow and cry ourselves to sleep thinking about what could have been.

[lupinusalbus]

Protect the King

Even within the emotional morass created by season 8, I think an essential truth of what will be ultimately be written in the books has been revealed: Sansa will try to protect Jon and his claim.

Working backwards from the final episode of the series, we see a key revelation in one of the final scenes, the one in which Jon says goodbye to his three Stark siblings/cousins. When Jon tells Sansa that the North is free because of her, Sansa's reply is "But they lost their King." In the script it actually reads "true king."

In some ways, this line from Sansa makes little sense. Sansa's original intent in revealing Jon's true identity was at least twofold: she wanted to foil Dany's ascension to the Iron Throne, but she was also attempting to protect Jon from Dany's jealousy and selfishness. Sansa's attempt to disrupt Dany's conquest did rattle Dany, but it ultimately failed insofar as Jon was not crowned. Presumably, had Jon inherited the Iron Throne, he too would have granted Northern independence in an ironic reversal. Yet Sansa tells Jon that she'd wanted him to be restored as King in the North. Perhaps it's being implied that she pushed for this off-camera, after Bran was crowned. We never see the ensuing discussion of Jon's fate. But in either scenario, Jon would be a king.

When Jon made Sansa and Arya swear not to reveal the secret of his birth (because of Dany's demand that he not do so), Sansa attained more insight into Dany's character. We saw in the Winterfell library scene between Sansa and Dany that Sansa saw into Dany's lack of selflessness. Dany was not really there in the North to save humanity from annihilation; rather it seemed to be more out of revenge for Viserion, and for her own self-aggrandizement. It was "Jon's war" that Dany was fighting, not an epic struggle for the world's survival. It seems possible that this conversation provides a lot of subtext that was likely gleaned from Martin, even in the hurried and garbled context of season 8. Sansa's insight is that Dany lacks Jon's integrity. This was not made explicit enough in the show.

Instead of acknowledging Jon's claim, Dany seeks to obscure the truth of it. This caused Sansa to question Dany's murky motivations even more. Wouldn't a person of integrity seek to honor the truth of another, especially a person whom she supposedly loves? Instead, Dany demands that Jon bury his truth in order for her to pursue her own glory. Just as she once disregarded Daario's feelings at being left behind in Meereen, she is more than willing to set aside Jon's feelings of love and obligation to his sisters. Her singleminded pursuit of the throne barely masks her inner ruthlessness and rage.

Why fans of Daenerys are in denial about this aspect of her character is sometimes hard to fathom. If Dany truly loved Jon, wouldn't she seek to honor his truth, wouldn't she somehow have been pleased to have discovered that she was not "alone in the world" anymore? No, Dany turned her back on her own blood and disregarded his value and feelings out of ruthlessness and selfishness. Her lack of moral scruples, lack of mercy, appears to be at the root of Jon assassinating her. The plot element of Dany's downfall, to my mind anyway, has nothing to do with any feminist ideal that many try to ascribe to Dany. This is because Jon didn't want the Iron Throne. His threat to Dany originates in his integrity and in his superior leadership qualities. That is why Sansa believes many people will prefer Jon to Dany; why he is "someone better."

Even in one of the show's trailers to season 8, we can scope out the subtext of Sansa's protection of "the king," Jon Snow.

It's the trailer that shows Jon, Arya and Sansa in the crypts of Winterfell, where they are seemingly confronted by their own tombs. What is the language and symbolism presented in this trailer? We see Lyanna's feather, and hear her voice begging, "protect him," as Jon walks by her statue. We then see Sansa walking by a statue of Catelyn Stark. Catelyn's voice is heard in a show-only line in which she berates herself over her inability to love a motherless child (Jon).

Isn't it interesting to speculate about why these specific themes were chosen as the trailer for the final season? Why do we see Lyanna's feather again (which Sansa picked up from the crypts back in season 5)? Why do we again hear about Catelyn's guilt over Jon, even though it may be mostly a show invention? It must be because it will be canon that it's Sansa's fate to carry forward Ned's promise to Lyanna, and also for her to somehow set right Catelyn's non-acceptance. This is a genuine subtext of Sansa's story, a subtext which may have been muddied on Game of Thrones, but one which nevertheless is still possible for us to discern.

It seems like a very revealing choice for the trailer of the final season. It could have been about Dany, it could have included the Lannisters, but instead it focuses on the Starks, the secrets of their past, on Sansa's role in the final drama. The scene in which Sansa bids farewell to Jon could have focused on her apology only, on her inability to prevent his exile. But she also tells him he should have been The King.

The undercurrent of this understanding will perhaps be made even more implicit between the two of them should a similar scene be a part of Martin's book version. It's an understanding by which Sansa will continue to carry the feather, a symbol of her devotion to Jon and of her bond with him.

[jasminewalkerauthor]

Trope chats: Curses

Curses, a literary device steeped in mysticism and consequences, have woven a captivating thread through the fabric of storytelling across cultures and epochs. This essay delves into the evolution of curses in literature, exploring their multifaceted appeal, potential pitfalls, societal influence, and the lasting impact they wield on the human imagination.

The roots of curses in literature trace back to ancient myths and epics, where gods and mortals alike invoked divine wrath upon their adversaries. From the epic of Gilgamesh to Greek tragedies like Oedipus Rex, curses were early tools used by storytellers to explore themes of fate, morality, and the consequences of human actions.

Greek Tragedy:

In Greek tragedies, curses often served as inexorable forces, shaping the destinies of characters. Oedipus' tragic fate, a result of a familial curse, exemplifies the enduring power of curses as narrative devices that drive the plot and illuminate moral quandaries.

Shakespearean Drama:

William Shakespeare's plays, such as "Macbeth" and "Hamlet," are replete with curses that foreshadow doom and evoke a sense of cosmic justice. The witches' curse in "Macbeth" and Hamlet's quest for revenge both showcase the enduring use of curses in exploring the darker recesses of the human psyche.

Folklore and Fairy Tales:

Folklore and fairy tales further expanded the use of curses as cautionary elements. From Sleeping Beauty to Rumpelstiltskin, curses became symbolic representations of moral lessons, emphasizing the consequences of transgressions.

The enduring appeal of curses in literature lies in their ability to add layers of complexity to narratives, evoking suspense, tragedy, and moral introspection.

Dramatic Tension:

Curses introduce a palpable sense of tension and impending doom, propelling the narrative forward. Whether through a witch's hex or a divine malediction, the anticipation of the curse's fulfillment engages readers and viewers alike.

Moral Dilemmas:

Curses often serve as conduits for exploring profound moral dilemmas. Characters grappling with the consequences of curses navigate the intricacies of right and wrong, free will, and the inexorable pull of destiny.

Symbolism and Allegory:

Curses, laden with symbolism, often serve as allegorical devices reflecting societal fears, taboos, or ethical quandaries. They become potent metaphors for the unseen forces shaping human existence.

While curses enrich narratives, they can pose challenges, such as the risk of becoming clichéd or contributing to one-dimensional characterizations.

Clichéd Tropes:

Overuse of curses without thoughtful development can lead to clichéd storytelling, diluting the impact and diminishing the novelty of the narrative device.

Stereotyping:

Curses sometimes perpetuate stereotypes, especially when tied to cultural or ethnic backgrounds. Care must be taken to avoid reinforcing harmful clichés and biases.

Curses in literature extend beyond mere storytelling; they shape and are shaped by societal attitudes, reflecting cultural fears, aspirations, and ethical considerations.

Cultural Perspectives:

The portrayal of curses often reflects cultural beliefs and societal values. Whether seen as divine retribution or the consequences of moral transgressions, curses mirror the cultural lens through which stories are told.

Societal Reflection:

Curses can serve as a mirror reflecting societal anxieties, offering a lens through which to explore collective fears, morality, and the intricate dance between fate and free will.

In conclusion, the use of curses in literature is a timeless and dynamic exploration of the human condition. From ancient myths to contemporary novels, curses have provided storytellers with a potent tool to weave tales of tragedy, morality, and destiny. The enduring appeal of curses lies in their ability to engage readers emotionally, prompt moral introspection, and reflect the cultural undercurrents that shape the narratives we create. As literature evolves, the power and symbolism of curses continue to resonate, echoing through the corridors of human imagination and inviting readers to ponder the profound mysteries of fate and consequence.

[veovis-of-kveer]

Post-Riven Ideas

Been thinking about what kinds of games I'd like to see from Cyan after Riven's launch in a week. Cyan mentioned at Mysterium that they'd like to make smaller more experimental games in the Myst universe partially to revive the franchise but also to avoid too much financial risk. For instance Firmament had a rough launch and stretched the company thin and many of the devs I spoke to mentioned their frustration with the project and the backlash it received. What was also mentioned to me was Cyan's interest in rekindling the magic of the early Myst games in the same way Star Wars: Andor did recently for Star Wars.

They also mentioned that a smaller more Myst-sized game or even smaller would be much less of a financial risk compared to say a massive sprawling epic like Firmament. Some ideas that were tossed around at Mysterium were: Pre-Fall D'ni Post-Fall D'ni A stylized Myst game A Myst horror game Anything involving new characters and time periods A Myst dating sim (not joking)

Here are some of the ideas I'm interested in:

A game about Veovis and his downfall featuring Anna and Aitrus. Set on K'veer and maybe some small ages. Could be either post-Fall or pre-Fall. It would allow us to explore the whole island and read his journals and explore his personal rooms and inspect his belongings. If set pre-Fall we could interact with him as a character along with Ti'ana and Aitrus and uncover his dark plot right on the eve of the Fall while delving into his not-so-subtle romantic love-triangle with the other main characters. The point is it would allow us to finally explore K'veer in its entirety. Bonus would be also remnants of Gehn's stay on the island if set post-Fall.

A game set on Releeshahn centered around Marrim. This would take place after Revelation but before Uru, roughly sometime in the mid to late 1800s. A new cast of characters with occasional Atrus and Yeesha cameos but ultimately centered around Marrim and her uncovering of the secrets of Releeshahn. Book of Marrim would be the tie-in novel for this game. This might be a bigger project since it would be set on Releeshahn and might require several years of dev time so maybe not the first thing Cyan focuses on after Riven but I know its a story Rand and RAWA had planned for a long while.

Garternay and the Exodus or alternately the origins of the Art. This could be a weird one and possibly unlikely one but it could be a really deep dive into the story of Ri'neref and the founding of D'ni or alternately the origins of the Art and how the bahro were enslaved. Did the bahro create the Art initially? How was the tablet made? Etc. I know Robyn Miller has a whole design document for a TV show pitch he did a few years back that would have focused on Garternay and from what was posted on his site and twitter we can see that Garternay was most-likely a barren scorched age in the final days of its red giant sun. There's a lot we could delve into here. We also know that Gehn's timepiece likely shows the planetary map of Garternay possibly before its sun went red giant, although this is something Gehn was told when gifted the timepiece so it's not 100% verifiable. In any case Garternay could be an interesting left field game to produce but I honestly doubt Cyan would reveal that much. Maybe if Robyn is involved.

D'ni Renaissance era. New D'ni character drama set at the height of D'ni civilization. This could be smaller game set during the height of the era of Kings during the reigns of Rakeri or Kedri or maybe one of the bad kings like Tejara or Ti'amel. I'd like to see another heavy character driven narrative but set in this peak period of D'ni civilization. Maybe the story of an exiled Writers Guild Master who's been framed for murder wanting to reconcile with his best friend who now wants revenge etc. I'd like to see more human stories about people in this universe and their personal and interpersonal struggles a la Myst/Riven/Exile with a clear goal in the game to resolve these issues.

Ok but I do really want a D'ni dating sim where you get to romance Veovis and maybe some other D'ni guild master hotties >:)

[zkylearnstherope]

My Fan Theories for Alan Becker's AvA 6 - Episode 2

It gets revealed that The Dark Lord is not actually evil.

Like Red before, Dark got possessed/corrupted and it somehow revived/enhanced Alan's code inside him. Chosen must've sensed this, because I think he held back a lot in the Showdown Episode.

He was named The Chosen One, damnit! He's supposed to level up along with his enemies. He can't possibly lose a fight.

He sensed something was wrong, but is not smart enough to save Dark.

victim actually works for the government/police.

When they summoned Alan's cursor during Showdown, it created public unease in the city. Like, A CREATOR IS ACTUALLY HERE!

The cursor was big enough to be spotted in the city. And when someone came to investigate, all they saw were laser marks on the ground and a missing mountain.

Naturally, the #1 suspect would be The Chosen One. In the Wanted Episode, when he saved the office worker from the falling debris with his lasers, the office worker either (a) covered his eyes to look at the bright sky, or (b) actually saluted back to Chosen.

I think it's B. So, people in the city are actually familiar with the rocket man in the sky. He would've reacted differently if it's the first time they saw Chosen. And don't get me started with the nonchalant reaction of the Corn Dog Guy.

So with this in mind, how would anyone capture a what is essentially, a virtual god? They will go for the smartest man they know, produces the most advanced technology, and who obviously has connections with Chosen since they look exactly the same.

I don't think victim is out for revenge. Like, why would he wait all this time to get back at Alan? He has all the resources now, his own company (that sells TVs), like, what else could he ask for?

I choose to believe in victim. He's the type to defend himself rather than hurt someone else. He even stopped the 3 members of the rocket group from killing The Second Coming, and asked Agent to bring him alive.

They even unpaused Second at the end. Which makes me believe that victim would want to talk/negotiate with him. What victim needs is INFORMATION, and he's not getting that from The Chosen One.

victim is actually looking for The Dark Lord

I believe Second's powers has something to do with antivirus and codes. And firing that mega-laser actually disabled Alan's Code, and in fact, DID NOT KILL Dark.

Dark surviving off-screen is not really a far stretch. Because, it already happened before in the Flashback Episode.

Now, if you take into consideration all the stuff I mentioned above...

The rocket group approaches The Chosen One, asking for The Dark Lord.

Chosen, remembering all the crimes they did during the Internet Conquest, fearing for his friend, he gets apprehensive and starts to escape. Instead of letting him get away, they had to use all the tools at their disposal. And then enter the epic chase scene from Wanted.

Other sub plot theories

Purple will show up and help them, since he actually lived in the city before, judging by the location of his Mom's grave. Purple would know about the rocket group, and can guide/help the others to stop them.

We'll see Red cry for the first time.

The fight will go like this:

Green vs. Agent Smith - both great with staffs, spears, or any long-ranged weapons, I also think that Green would be fast enough to match Agent

Red vs. Hunter/Primal - pure strength and heavy muscle

Yellow and Blue vs. Ballista/Pixel - G U N S

Purple vs. Hazard/Sign - being trained by his father Navy, Purple is actually really good at hand-to-hand combat

Alan's Giant Cursor form is not going to show up this time.

victim is going to teach Second about his powers.

---

God, I can't wait for the next episode.

[mariequitecontrary]

When will we get the extended version of MultiversePals.com?

Oh wow thanks so much for reaching out to ask! 🥰

I’ll use this chance to give a short answer and a long answer.

Short Answer: Probably next year.

Long Answer: MultiversePenPals.com/ExtendedEdition (whoof what a long title lol) is currently in my personal writing schedule to keep my fic priorities in check~ how fast I get through the schedule completely depends on life obviously. The biggest variable being if the words are wording and the creativity is creating. I’m currently also teaching myself to draw! Which is eating into my writing time smh.

So like yeah! Here is what you can expect to see from me in the foreseeable future:

Marie’s Fic Schedule*

Two Monthly Prompt One Shots

I’ve got two short (about 1k words) one shots I’m determined to do! August’s (I’m late I know) is a fantasy AU Slipstream/Windblade while October’s is a ghostly Starscream/Soundwave (maybe…)

Femmes are Fatal Ch 3

The last chapter in my rewrite of the first few scenes of the 2007 TF Movie, focusing on Mikaela. This is halfway written and is already so long T.T I’m struggling on where to stop it since this rewrite is not meant to be the whole movie…

Revenge of the Warrior Goddess Ch 3

The last chapter in my rewrite of the first few scenes of Revenge of the Fallen, also focusing on Mikaela.

(Both of the above fics may be picked back up to have the full movies rewritten AFTER the current set of fic goals is completed)

A Spark’s Rhythm

The first few chapters need to be rewritten to be more compelling/flow better now that I’ve improved my writing skills a bit.

Ch 18 is halfway written and I’ve got a personal deadline for this chapter that may be bumping it up the list if I don’t get the words wording…

After ch 18, I’d like to get myself back on the roll of writing regularly for this fic in addition to any other fic projects.

MultiversePenPals.com/ExtendedEdition

Once the above goals are completed, then we’re back on the MultiversePenPals! My plan is to reread it, take notes with some fresh eyes, compare it to my old notes…then getting started on it :)

The Extended Edition will be in chapters, but I won’t be posting any of it until it is COMPLETELY written. I don’t want to have it out there as a wip when the original is already completed and everyone knows half of the story already 😅

2025 Big Bang

At the same time as the MultiversePenPals Extended Edition, I will be getting a head start on the 2025 Big Bang! It’s gonna be another big one so I want to work ahead. Currently deciding between an epic One Thousand and One Nights origin story with Thundercracker/Predaking or a cozy Sunny/Sides Stardew Valley AU…

Secret Solenoid Fic

Technically this fic is not last in the schedule. It will be gotten done on time to be given to my…uh…target lol. But I don’t know what the prompt is yet and how much I intend to write for it so I don’t know where it needs to be on the schedule right now :3

*Schedule is subject to be put aside whenever random plot bunnies possess me and whatever else distracts this ADHD filled brain of mine.

[raisinchallah]

god the whole dahak and gabrielle giving birth to hope storylines like a mess.... it really should have be initially more episodes like the deliverer is actually a surprisingly good episode all things considered i like how xenas so focused on the battle and gabrielle is captured so they spend most of the episode apart but the character motivations are like incomprehensible in gabrielles hope like xena so immediately turning on gabrielle and gabrielles complete insistence there couldnt be anything wrong are like so rushed i think both are places that make sense for the characters to be but its done sooo fast and so sloppily it feels like its coming apart at the seams its really the first attempt at stronger serialization like blending caesar into the plotline and that its all part of clearly his slow build of power that shall grow each episode we see him compared to callisto who tho her episodes are linked theyre not really building up specific storylines to payoff later beyond like themes the series focuses on i feel like it could have been a lot stronger if the caesar and boudica plot had flowed into the second episode rather than going arthurian and in general probably should have been three episodes one the set up in the deliverer remaining ultimately the same and then a second episode where gabrielle is pregnant and theyre fighting off the romans to a completion of the battle and to set up character motivations better i think if xena had felt dragged between the battles and her quest for revenge and gabrielle it could have felt like oh her bloodlust and desire to get revenge on caesar left gabrielle vulnerable and she is eaten away by this guilt but is also in a slightly crazed mental state from this battle and everything happening to gabrielle and then episode culminates in gabrielle giving birth and then a third episode with baby hope like gabrielle wanting to save hope makes total sense she feels like she can make up for the blood spilled and is so desperate to believe in something good and i feel like if they did want xena to act so crazy about it if she was also being torn between war revenge and gabrielle and in a darker headspace throughout the whole story but its so crazy how quickly she turns on a dime to want to hunt down gabrielle i think if it did truly feel like throughout more of the story darkness was surrounding like boudica is defeated the romans victorious caesar does something else evil xena feels the walls closing in could create an atmosphere that makes you understand more why xena goes so crazy when shes usually pretty good at diplomatically resolving situations so she can kill who she needs to kill but i also dont really know if making it more grand and epic would turn the tone of the whole season a bit too high with the debt following it maternal instincts the bitter suite one against an army the finale etc but it just it really does not engage very well with gabrielles feelings either and well evil magic pregnancies have never been terribly good plotlines lol

[shabdforwriting]

The best 7 Genre to Start Writing in for 2024-2025

Here are descriptions of the seven genres you listed, tailored to trends and themes expected to resonate in 2024-2025:

1. Sci-Fi/Fantasy:

Sci-fi and fantasy are perfect for writers who love to imagine worlds beyond our current reality. For 2024-2025, speculative fiction is leaning toward themes like climate change, AI evolution, and dystopian futures. Fantasy continues to thrive with intricate world-building, magic systems, and epic quests, often reflecting real-world issues like diversity, politics, and power dynamics. Readers are drawn to the escapism but appreciate deeper themes that challenge societal norms.

2. Horror:

Horror writing is shifting toward psychological terror and societal fears. In 2024-2025, expect readers to be intrigued by stories that explore isolation, fear of the unknown, or threats lurking in the everyday. Modern horror also embraces supernatural elements or body horror while touching on social issues, making it a genre where scares are as much about the mind as about the monster. Tapping into cultural anxieties will resonate with audiences looking for both thrills and introspection.

3. Thriller/Crime Drama:

Fast-paced, tension-filled narratives are always in demand, and the coming years are no exception. From political conspiracies to personal revenge, thrillers and crime dramas appeal to readers who crave suspense. True crime influences and morally gray characters are trending, with more focus on flawed detectives or anti-heroes navigating a corrupt system. In 2024-2025, complex plot twists, unreliable narrators, and crimes rooted in current social issues will be key drivers of interest.

4. Romantic Dramas/Comedies:

Romance remains one of the most popular genres, and recent trends have focused on inclusivity and realism in love stories. Romantic dramas explore deep emotional journeys and relationships affected by external pressures. Comedies, on the other hand, balance romance with humor, often using quirky characters or unconventional pairings. For 2024-2025, readers are looking for stories with diverse characters, fresh dynamics, and themes like healing, second chances, and the challenges of modern dating.

5. Socially Relevant Dramas:

As people become more socially conscious, dramas centered on relevant topics are gaining traction. These stories delve into issues like inequality, immigration, climate change, mental health, and identity. The focus is on character-driven narratives that reflect real-world struggles, offering thoughtful commentary and emotional depth. For writers in 2024-2025, this genre allows you to engage with pressing issues while creating compelling, human stories that inspire empathy and action.

6. Murder Mystery:

The classic whodunit remains a staple in literature, but modern takes often blend genres or focus on psychological depth. In 2024-2025, murder mysteries are expected to become more complex, with layers of character backstories, secrets, and unreliable narrators. Readers love immersive puzzles, red herrings, and shocking twists, especially when set in unique or atmospheric locations. True crime elements and contemporary settings also breathe fresh life into the traditional format.

7. Docuseries/Non-Fiction:

Non-fiction writing has gained new momentum, especially in formats like docuseries-style storytelling. From personal memoirs to investigative journalism, the genre appeals to readers interested in true stories about real people or events. In 2024-2025, themes such as environmental crises, tech innovations, social justice, and cultural phenomena are likely to dominate. Writers can dive deep into research or share personal narratives, with the goal of educating, inspiring, or challenging the status quo.

Each of these genres offers vast opportunities for creativity, and by focusing on current trends, you’ll be able to connect with readers in fresh, meaningful ways.

Source -

[agentnico]

Master and Margarita (2024) review

Oh when in Soviet Russia…

Plot: Based on Mikhail Bulgakov's novel "Master and Margarita". 1930's, Moscow. A famous writer is censored by the Soviet state: his novel is banned, and the theatrical premier of his new play about Pontius Pilate - canceled. In just a few days he becomes an outcast. Inspired by these misfortunes the writer conceives a new novel in which the devil, named Woland, satirically revenges all those responsible for the writer's downfall. He knows this novel can never be published in the USSR, but Margarita - his muse pushes him to write it no matter what.

I truly believe Master and Margarita is one of the most powerful pieces of literature to come out from Russia. Yes I am aware War & Peace is more talked about, but look, I read all of its 1000+ pages and though it is an epic in every sense of the word, it does drag quite about. As for Master and Margarita, Soviet writer Mikhail Bulgakov created a satirical, quasi-biblical allegory that represents themes that are crucial to the human experience, such as struggle between good and evil, corruption in government and high society, human fragility, religion and prophecy, and the endurance of love over all. It’s a masterfully written piece of work, and one that is truly hard to adapt to screen, due to how much happens through its pages. However I’m all for directors giving it a go, with Michael Lockshin taking the challenge with a motion picture that was originally a co-production between Russian studios and Universal Pictures, though the latter pulled out following the Russo-Ukrainian War, even though most of the filming was already complete. Nevertheless after multiple delays the final product is here, so let’s digest.

Let’s talk through the positives first. It’s nice to see a Russian production of such grand scale, that even gives Hollywood a run for its money. There are some truly spectacular set pieces, and also interesting visuals, especially of a futuristic post-modern take of the Soviet Union, that reminded me a little of the recent Atomic Heart video game. Also the inclusion of August Diehl who plays the central Satanic figure Voland. This casting choice was a truly inspired one, as Diehl both looks and feels as if he came out straight from the pages of Bulgakov’s novel. There’s just this presence to him, as you can tell the power behind his eyes, yet he can also be really charming and witty. Whenever he was on-screen, the movie fully came to life, as he managed to perfectly balance the damning mocking tone with a deep inner understanding of things beyond the human mind. Look, there’s a great reason why they casted an actor outside of Russia for this part, as Diehl honestly was incredible. Funny how this is the same guy who got his testicles shot off in that WW2 Tarantino flick. Evgeniy Tsyganov as the titular Master too felt perfectly apt for the role, in some ways personifying Mikhail Bulgakov himself. The Master is a character that can so easily come off as dull, as he’s generally very stoic and constantly deep in his own thoughts, so it was a nice interpretation with Tsyganov breathing more life into him.

Unfortunately this is where the positives end. Look, I think it is truly impressive for the entire novel to be transferred into a 2hr 30min film, and of course I expected certain parts to be rushed. However the movie shoots itself in the foot by trying to approach the source material in a different way. Messing with various realities and reorganising the events of the novel in a completely different order, the result is messy and all over the place. I can say with full certainty that if I haven’t read the book before that I’d be so confused as to what the hell was going on in this movie. From the way it jumps from one place to the other in non linear fashion made it so difficult to be engaged and feel connected with the characters. There was a lot of extra narrative elements added to an already overstuffed plot (with a lot of creative choices being outright baffling) as such causing the movie to need to rush even more certain other key plot points that again, it was really disorganised and jarring.

Also, I know that ever since Batman it’s now cool to go dark with everything, but The Master and Margarita is a novel that doesn’t shy away from raising a few eyebrows. In fact it goes out of its way to be as weird and ridiculous as possible, with the inherent horror and tragedy that befalls each of its characters being felt only later, after the laughs have died down. The humour in the book, especially the dark stuff - that’s sort of famously the Russian novelists’ coping mechanism against, uh, being a Russian novelist. Yet this new 2024 film hardly allows a single joke, and instead tries to cover everything with a dark dramatic tone, and I feel that really takes away from the charm of Master and Margarita. Heck there are even sequences in the film that are supposed to be played for laughs, like the Behemoth cat’s shootout with the KGB cops that screams for physical comedy potential, yet the movie kind of glosses over it in a very monotonous way.

Aside from August Diehl and Evgeniy Tsyganov, the casting left a lot to be desired. Yulia Snigir made for a really bland Margarita. Voland’s entourage of demons, who in the book are a cause for some truly entertaining if silly shenanigans, here are completely wasted, and in fact are borderline annoying. Yuri Kolokolnikov as Korovev, the main member of his entourage, was actually horrendous. In the source material Korovev is a trickster, yet there was still wiseness within his madness. Here however Kolokolnikov plays him as if he were some kind of deranged clown, screaming every single line and maniacally laughing for absolutely no reason. The talking cat, who is one of the book’s best characters, in here is just a CGI cat who says maybe only two lines of dialogue in the whole film, and even then it’s a lazy mumble courtesy of actor Yura Borisov. Claes Bang as Pontius Pilate looked bored out of his mind. To be fair, the whole biblical side plot of Pilot and Jesus suffers the most here by being downgraded to maybe 5 minutes, which at this rate I feel like they should have cut the whole thing out entirely as the 5 minutes added nothing to the overall film. But yes, Claes Bang was evidently there to collect a pay check, and part of me wishes that instead we just had James McAvoy reprise his comedic take of Pilate from The Book of Clarence that came out earlier in the year.

It was never going to be an easy feat adapting Bulgakov’s epic into a movie. The narrative lends itself so much better to a TV series format, and in fact there is a wonderful 2005 limited series adaptation from Vladimir Bortko, and now that right there is how you make Master and Margarita work! That series featured great music, amazing performances, and plenty of breathing room to give every nook and cranny detail of the book its proper time. 2024’s Master and Margarita doesn’t come anywhere close to it, and though I do admire Lockshin’s ambitions, in the end it all falls flat on its face. August Diehl however is truly phenomenal in this, and honestly I really need to watch more of his acting work. I hear A Hidden Life with him is supposed to be good. Adding that to my watchlist as we speak.

Overall score: 4/10