#just because it wasnt the end you fabricated in your head based on your understanding of the hints

[natjennie]

i think mostly we as a culture need to stop pretending media is for us and instead recognize that it's for the people making it. "the show didn't do the thing I wanted it to" is so not the point. did it do what the people making it wanted it to do? did it tell the story they were trying to tell? than it was successful. if that doesn't align with what you wanted to happen, don't get up in arms about it. don't badmouth the creators and throw a tantrum. that's what fan works are for. the text is the text, and it told the story it was telling. you wouldn't be like "ugh shakespeare is insane for act v btw like there was no reason for juliet to kill herself she should've just waited and then her and romeo could have been together wtf this ruined the whole play" like no!!! the themes were there the set-up was there the foreshadowing was there shakespeare did what he intended to. just because it wasn't a happy ending and just because you thought it should've went differently doesn't mean it was bad. read a fic where juliet lives and move on.

[strawbxrryneptune]

HEAR ME OUT HEAR ME OUT

You're the head cheerleader at UA.

We're gonna say its UA university, so like class 4-A.

Bakugou is your boyfriend

He plays on the football team 😫

But he got suspended for a little because he saw Deku (yes I'm adding Deku in this, @ me why dont you)

Deku plays on the rival team, he switched schools cause he felt like he wasnt reaching his full potential.

Bakugou basically broke Deku's mf leg, it's a surprise he wasnt kicked off the team, but the he's the star player.

The only reason the UA football team is even in the nationals is cause of Bakugou.

Anyway, Kiri and Sero were roasting the absolute shit outta him for getting suspended.

"PLEASE- HE COULDN'T EVEN KEEP THE BEST SPOT ON THE TEAM KEKEKEK"

*LMAO* "DAMN BAKUBRO, YOU GOT FLAMED"

Bakugou was ready to blast all their asses to the moon and back, until Denki said that he probably couldnt even keep a spot on the cheer squad, it's even more brutal than football and the outfits are too risque.

It went dead silent when poor bby said that, cause everyone knew not to challenge Bakugou.

He immediately stood up from his spot on the couch in the study hall, marching over to Denki and grabbing him by the collar.

"More brutal than football? Hah, you're out of your goddamn mind, Sparky. I can do that shit anyday, even in that girly ass skirt."

Denki smirked

"Wanna bet?"

And that's how he found himself wearing a custom made UA cheer uniform, face red in embarrassment but still determined to not chicken out. If he got through this, he'd get $50 from everyone in the squad except for Mina

♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡

When Bakugou had come to you, red in the face and hands shaking in embarrassment, asking for a cheer uniform, you almost passed out in shock.

The Katsuki Bakugou, star Football player, top of his class in strength and brains, wanted to cheer? Nah, you were buggin. He wouldn't tell you why, only a harsh, "You gonna give me the uniform or not?" Before giving you a quick and kind of violent kiss on the cheek, scampering off with the bright orange fabric in his hands.

Leading up to the big game for the finals, he would hang around during practice and watch you command the girls, having them jump and twist into complicated positions. You spot him peeping and called him over, teasingly asking him if he could do a cartwheel, not expecting him to actually do one. He has almost perfect form, a little wobbly on the drop down but beautiful nonetheless. You pursed your lips, looking him up and down before clapping your hands loudly, causing him to jump.

"Change of plans, ladies! We now have a new member joining the team, at least for the game next week. I'll need you to be understanding and patient in teaching him the routine, and no making fun!!"

The other girls nod understandingly, surrounding him despite his yells and protests.

You smirk to yourself.

This is gonna be so much fun.

♡♡

A week passes, and you're in the changing room with the girls, handing out their uniforms. You get to the bottom of the bin, and realize theres a pantsuit. You widen your eyes in shock. If the pantsuit is in there, than that means-

"Y/N IM GOING TO KILL YOU"

Shit.

You jog out of the locker rooms, looking around until you see a shaking head of ash blonde hair. You make your way over to him, stifling a laugh when you see him wearing large sweats, the outline of the orange skirt peeking out. He doesnt have a sweatshirt on, so you're blessed with the sight of his pecs and abs bulging out, sweat already dripping down his body due to the heat of the stadium and the embarrassment racking his body.

"I'm so sorry, Katsu. I didnt realize I gave you the girl version of the uniform."

He scoffs, subconsciously reaching up to tug at the crop top.

"Just get me the damn boy version, you shitty-"

"ALRIIIGHT EVERYONE, ARE YOU READY TO RUMBLE!!"

You both jump at the sound of the announcers voice, the crowd roaring back.

"WELL THEN GET READY, FOLKS. WE HAVE A WONDERFUL PREFORMANCE FROM THE UA CHEER SQAUD. GIVE EM A HAND."

You look at Bakugou in apology, before rushing the girls out, gesturing for him to hurry as you run out onto the field, the UA side cheering loudly while the rival team boos. Bakugou let's out a huff, shoving his sweats down and running out with you, not looking up. The minute the crowd sees him running with you, the stadium fills with laughter and wolf whistles, some of his teammates fanning themselves in mockery. He growls at them, intimidating but not scary due to the bright orange crop top and skirt he's donning.

The music starts and everyone gets into formation, Bakugou at the far right and you at the left. You start to do your routine, shaking your hips and yelling along to the music, moving around and doing flips. You form a pyramid, Bakugou on the base and you somewhat in the middle. The top girl flips off, does a twirl in the sir and lands in front of you, shouting the UA cheer before you all follow suit, cheering on your team while shimmying around. You turn to see how Bakugou is doing during the end, and the sight that greets you is heaven;

He's heaving for hair, sweat slicking down his hair and dripping down his abs, the skirt flowing and moving along with his thick thigh, which tremble from exertion. He's panting hard, eyebrows furrowed as he tries to nail a pose, wobbling slightly. You gulp hard, shaking your head to clear the thoughts starting to surface, thoughts of fucking him in that uniform, sucking his cock from under the skirt, riding him in your uniform, lifting the hem to see where you're connected. Ripping the crop top to see his puffy nipples, making him moan and tremble underneath you from the pleasure, calling him a cute little slut for wearing that little piece of fabric.

You break from your thought when the music cuts out, roars and screams deafening, even the opposing team cheering for you and the beefy man in the skirt.

You all bow and trot off the center felikd, making your way to the benches you drink water before the team starts playing. Bakugou makes his way over to you, gulping down water from his bottle. Some of it spills out his mouth, rolling down his throat, scattering when his Adam's apple bobs. It makes a trail into the swell of his pecs, disappearing. You look up his body slowly, face heating in embarrassment when you meet his eyes, a cocky smirk on his face when he realizes you were ogling him.

"Ya see sumthin' you want, Baby?"

You grit your teeth at him, grabbing his collar and dragging him off into the space between the bleachers.

He sputters at you when you reach under his skirt and grab the barely concealed bugle there, smirking up at him.

"See sumthin you want, Baby?"

You taunt, rubbing him through the fabric of his boxers.

He groans from above you, muttering out a breathy "Its from adrenaline-"

Before pushing his lips against yours, sucking your lip into his mouth while his hips stutter against your hands. You pull away, grinning when you see him chase your lips.

"Are you sure it's from adrenaline, or is it cause you were prancin around out there like some pretty little whore, hm?"

Bakugou clenches his eyes shut, blushing hard and growling low in his throat.

"Shut the fuck up. I didnt do it for that-"

"Well you still did it, and you looked so good, too, 'Suki. Wanted to suck your cock the whole time."

He whimpers at that, hips moving forward to push against your hand more, pre leaking out and making his boxers sticky against your palm.

"Mm, you like that? Like me praising you? Calling you a good boy and telling you how much I wanted your fat cock shoved down my throat? "

His head falls against your shoulder, moaning into the side of your neck as his balls tighten, cum soaking his boxers and dripping out onto your hand. You lick up his neck, making him shudder.

"There you go, pretty boy."

♡♡

When the game is over, he stomps over to the squad, snatching their money aggressively before making him way back to you, scowling when you land a harsh smack against his ass.

"Is it just me, or is Bakugou glowing?"

♡♡♡

@hanji-is-life your Bakugou in a skirt inspired me to write this Bakugou in a skirt.

Masterlist

[barryjeanblues]

taako meets death (again)

(also posted to my ao3)

taako has met two raven queens in his life before now.

well, close enough, at least. most - though not all - of the worlds the starblaster had traveled to had gods, and surprisingly enough, those gods were usually - though not always - strikingly similar to their homeworlds gods. (this was useful, because one of the crews number relied very heavily on a certain nature god for his magic. luckily, the nature or life god of each world always seemed to have a soft spot for little old merle, even if they werent merles traditional cloven-hoofed pan.)

twice, taako had met the death god - someone equivalent to faeruns raven queen. 

this had led to taakos understandable trepidation upon kravitz finally putting his foot down and insisting taako meet his mother boss. 

the first time taako had met a raven queen, she had been… overwhelming. the light of creation had fallen into a forest dedicated to her and her followers, and the head acolyte refused to give the wandering crew the light unless they first received permission from the queen.

the crew had agreed, with no other option, bracing themselves to firmly explain the direness of the situation. surely a goddess would be intelligent enough to understand. 

that raven queen had burst into a forest cleaning in an explosion of black feathers, half illusion, half steel, so that when lup brushed the smoky feathers from her eyes they blurred and dissipated, but when magnus tried the same thing he yelped and brought his hand back bleeding. 

that raven queens laughter had been eerie and echoing, almost but not quite mocking, almost but not quite infectious, almost but not quite joyous. the crew had stood firm and offered their argument, and the queen had given them tests and tokens and bargains and tricky promises with too many clauses and loopholes and at the end of it all the ipres numbers had been halved and the rest were weary and worn as they caught the light of creation and fled with only minutes to spare, the faelike laughter of death following them terribly even through the overwhelming cacophony of the hungers assault. 

that laughter had trailed after them longer, if only in their heads. taako would be making stir fry, planning outfits, swapping merles shampoo for hair-loss potions, when hed have to sit down suddenly and breathe through the musical trills of the raven queens cruel pleasure. it had seemed to bounce in his head the way a rubber ball might, ricocheting off thoughts and feelings until it rolled under a couch to be forgotten about, till some slight movement sent it rolling and bouncing about once more. 

davenport had died in an illusion, thinking he was saving his crew. poor merle had been choked by his own plants, betrayal writ across hos face. barrys skin had grown sickly purple with poison - ten to one odds arent very good odds. taako doesnt forget easily. he decides the goddess of death can go fuck herself. 

the second raven queen taako had met much later in their journey, and taako had met her alone. 

lup and barry had become liches a few cycles back. it was something taako had still been coming to terms with. 

taako loves lup. this is an immutable fact of any and every universe. taako loves lup and lup loves taako and not death or memory or space can separate them, not for long. but seeing your sister die, and then… go beyond death, to twist herself and latch on to a chance that she may never return except in madness and spite - thats a hard thing to grasp, even when she succeeds. taako had still found himself shivering when his sister forgot she had a body again and grabbed a hot pan off the stove, crying out in pain. taako still woke sweating from nightmares in which his sister and his friend flew apart and reformed as cackling red robed horrors of insanity and cruelty, too far for him to reach. 

until that cycle, though, barry and lups choice had only been an asset. 

but some raven queens do not take kindly to anything they see as a perversion of their domain. 

barely a week into that cycle, taako had awoken from the guilty non-elven pleasure of a nap only to find himself in some cold, hard court, fashioned seemingly of steel and silver and concrete, onyx lining the floor and the only color coming from sparse sapphires sparkled throughout the long echoing hall. 

at the end of it - and taako had known his eyes must have played tricks on him, because at first the being at the end of the hall seemed, while large, not much larger than a giant, but when hed called a nervous greeting his voice had echoed so awfully he knew the hall stretched much farther than hed thought and the goddess at the end of it must have been unimaginably huge. 

her eyes had glinted a flinty sapphire in her carven steel face when she ordered him to defend the existence of his sister and his sisters lover. 

taako had tried. he truly, truly had. but while taako is a being of preservation and caution, full of intelligence and cleverness, he is not one of cold hard logic. perhaps lucretia could have convinced this raven queen, the only of their number who had ever been able to grasp true hard reason… but taako doubts it. he had doubted it then and he doubts it even more these days. 

the point is, taako, for all his love for his family and his brilliant wit and devotion (probably, in fact, because of it) taakos arguments couldnt convince that raven queen. she saw past his genuine belief that lup and barry had made a good decision, and into his fears for her, and the goddess of death had based her own argument on those. she won. taako never had a chance. 

he, lup, and barry had woken up in the next cycle, newly resurrected. taako never stops feeling guilty about it. 

so. yes. 

taako is more than a little nervous about meeting the goddess his boyfriend serves so devotedly. but, and youd be hard pressed to convince him to admit it, taako would do anything for kravitz. and despite it all he does actually want to see what the deal is with his sister and his best friends boss, and his patron gods… friend? lover? girlfriend? taako isnt quite sure what fate and death are to each other, but its definitely something.

kravitz lays a warm hand on taakos shoulder, but taako squares them up. he can do this, for fucks sake - hes died a shitton of times, he can meet death. 

the doors open and taakos breath - the only breath in this realm of the dead - catches in his throat.

taako is a die hard istus fan, and shell always be his goddess. but if taako wasnt a taken elf, hed follow the raven queen, he realizes with a startle.

shes beautiful, yes. shes gorgeous, and taakos always been weak for beauty, but hers isnt the cold hard beauty of gemstones and gold, thinks his nimble fingers snatch up and hoard in his endless pockets. the raven queen is beautiful in a way that taako cant describe as anything other than simple.

he cant pin down any features. she has a kind face, gentle hands, bright eyes, but taako can tell she is a goddess because despite staying still the image of her flicks and shifts in his head. at once she seems to have every kind face hes ever seen, even if he doesnt recognize anyone. her hands reach out to comfort him - no more than comfort - but she stands without moving in front of taako and kravitz. her eyes glitter and sparkle and crinkle up with cheerful laughter, except taako isnt entirely sure she has eyes at all, or maybe she has too many. 

he thinks… he thinks maybe she has wings, or maybe theyre arms, or maybe theyre black fabric, draped around and behind and below and above her, shifting with the last breaths of every mortal in the universe. its darkness but its not scary, taako realizes, its solacing, healing, the way that he feels when dusk passes to night and the sky is huge and warm and the brush of lups hand against his as she says goodbye for the night is a relief and a love. 

hello, taako, death says. its lovely to meet you. 

she means it, taako knows. he can tell, somehow. shes just happy to meet him. nothing more, nothing less. 

'oh,' taako says aloud, and kravitz laughs his quiet sweet dorky laugh, and the raven queen laughs too, and its just that. its just a laugh, and its a nice one.

'oh indeed,' kravitz says. 'taako, did you really think id serve a monster or a cruel master?'

'well,' taako replies hesitantly, 'honestly, homie, i kind of thought you were, and id, like, have to start some quest to slay death itself and rescue you.'

the anthropomorphic personification of death laughs again, a note of delight in her tender voice. i like him, my kravitz, she says, good job.

kravitz does the dead-reaper equivalent of blushing. taako grins a little because its very cute. 

'death is different here,' taako hums. 'its… it wasnt like this anywhere else i went. it was cold, or cruel, or empty. i dunno why its different in your world.'

'then i guess we're the lucky ones, huh?' kravitz asks. taako leans up against him and murmurs an agreement. 'its why i love my job so much, why it means so much to me. its not that im some hardass, i just…'

'yea, cha'boy gets it now,' assures taako. 'still.' he looks at the ever-shifting, ever-stable face of death again. 'you better treat my boy kravitz and my lady istus well, capiche? or we will have issues.'

its a deal, taako, the raven queen says, smiling. 

when taako opens his eyes, hes in his home in the material plane, and kravitz is next to him, and theyre both smiling. 

[viralhottopics]

Why the Halo Movie Failed to Launch

The Master Chiefs left the offices of Creative Artists Agency around midday on June 6, 2005, in a fleet of limo vans. In their green, red and blue Spartan armour the cybernetically-enhanced super soldiers made quite a spectacle. Each stood six-foot-three tall, visored helmets obscuring their faces. Each carried a red bound document folder stamped with the CAA logo that contained two things: a copy of the Halo screenplay commissioned by Microsoft and written by Alex Garland and a terms sheet. None of them spoke a word.

The security guards on the gates of the major motion picture studios are used to seeing many things. Still, a hulking soldier from the future striding towards them and demanding access to the studios top brass was inevitably going to end in some kind of shooting incident — whether involving a United Nations Space Command BR55 Battle Rifle or a security guards arguably more deadly .38 revolver.

Fortunately Larry Shapiros team at CAA had called ahead and warned the studios security heads what was going on. The Master Chiefs were allowed onto the lots at Universal, Fox, New Line, DreamWorks and others without firing a single shot. If this was the videogame industry literally invading Hollywood, it was remarkably bloodless. They delivered their scripts and waited outside the meetings rooms in silent character, flicking through the pages of Variety. Everyone knew the clock was ticking: Studio executives only had a couple of hours to read the Halo screenplay and decide whether or not to make an offer before the Master Chiefs returned to CAA with the screenplay. It was the deal of the century, and a fantastic piece of showmanship.

The Master Chief suits were Shapiros idea and they ensured that the Halo deal made headlines even before the trade papers learned how rich the demands were. It was a spectacular attempt to turn Microsofts first foray into Hollywood filmmaking into a theatrical event and it very almost worked. Master Chief, the hero of Microsoft and Bungies bestselling Halo games, made his debut in Hollywood. Sadly, though, his Tinsel Town ascension was short-lived.

Microsoft was aggressive in pursuing the idea of taking Halo to the big screen. Its easy to understand why. The games, developed by Bungie Studios, were perfect blockbuster material: high-octane, intense sci-fi shoot em ups with a dense mythology and storyline and a dedicated fan-base of millions. Combined sales of the first two Halo games grossed in excess of $600 million over four years, selling north of 13 million units. The movie biz looked on in envy.

When Microsoft approached CAA about their movie ambitions, Shapiro told them about the Day After Tomorrow auction set up by CAA agent Michael Wimer and director Roland Emmerich. With a script for the apocalyptic eco-movie in hand, Wimer called the major studios and invited them to bid for it. The process was unusual: Every studio would send a messenger to CAA at an allotted time, pick up the script and then have 24 hours to read it and make an offer. Each script was despatched with a terms sheet: Heres how much we want; heres how much we want for the director, and it has to be a go movie (in other words, a picture with a guaranteed start date for production). Each studio responded by trying to negotiate terms. The only exception was Fox, who simply wrote on the term sheet: Yes.

Microsoft, unaccustomed to Hollywoods culture, was impressed by that story. It wanted to be able to dictate the terms even though it was a newcomer in the movie biz. Halo was its prize property and they wanted to protect it.

Microsoft was entering into negotiations brandishing a very big stick.

Microsoft also wanted to make a bundle of money from its sale. For Shapiro, it was typical of the gulf between the two industries. Games creators are, by their nature, engineers who deal in absolutes. For them the subtleties of Hollywood production, with its ebb-and-flow of egos and power plays, were often alien. To sell a movie into a studio and actually get it made is a lot of work, he says. It takes a lot of conversations and a lot of pixie dust being thrown about while youre getting the deals done. In the games industry, theyre technologists and theyre data driven. Theyre looking at data points and saying: We need the movie to be made, its got to be this, this and this. If you get A, B and C to be part of the movie, then great well sell you the rights. You cant do that. But, if thats what Microsoft wanted, CAA was willing to try.

To set up that kind of deal, Microsoft needed to be ready. Most importantly it needed to have a screenplay so it paid Alex Garland (28 Days Later, The Beach) $1 million to pen a spec script. The screenplay was supervised by Microsoft, which meant it was — for good or ill — heavily steeped in the games mythology. Still, the project now had a blockbuster screenwriter and was based on a high-profile videogame franchise.

Next, it was a case of setting up the auction. Peter Schlessel, the former president of production at Columbia Pictures, was one of the main negotiators in the Halo movie deal and served as Microsofts Hollywood liaison. Together with Microsoft and its lawyers, Schlessel and the CAA team hammered out a term sheet. We were literally setting out to be the richest, most lucrative rights deal in history in Hollywood, says Shapiro. You have to remember that no property, not even Harry Potter, was getting [what we were asking for]. Microsoft, a global software giant used to getting its own way, wasnt about to kowtow to Hollywood. It knew Halo was the jewel of videogame movies, the one that could be a true blockbuster hit. According to Variety, Microsoft wanted $10 million against 15% of the box office gross, in addition to a $75 million below-the-line budget and fast-tracked production.

Those were big demands. Not least of all since, at the time, videogame movies were still floundering on the edge of respectability. Tomb Raider had made a pot of money and pushed towards the mainstream but its 2003 sequel, Lara Croft: Tomb Raider — The Cradle of Life, suffered a disappointing opening weekend at the U.S. box office and limped by on its foreign grosses. The Lara Croft franchise was running out of steam early. And most other videogame movie outings werent even in the same neighbourhood as Lara. Paul W. S. Anderson, the director of Mortal Kombat, parlayed his success into the zombie-themed Resident Evil franchise distributed by Sony Screen Gems. The first movie based on Capcoms survival horror game series took $102 million worldwide and did gangbuster business on DVD selling over a million units. But it lacked the prestige and mainstream crossover potential of Tomb Raider.

Microsoft were aiming higher — much, much higher. CAAs deal-making matched the software giants aspirations. According to the New York Times, Microsoft were demanding creative approval over director and cast, plus 60 first-class plane tickets for Microsoft personnel and their guests to attend the premiere. It wouldnt be putting any money into the production itself beyond the fee paid to Garland, nor was it willing to sign over the merchandising rights. To add insult to injury, Microsoft wanted the winning studio to pay to fly one of its representatives from Seattle to LA. They would watch every cut of the movie during post-production. Clearly, Microsoft was entering into negotiations brandishing a very big stick.

With the screenplay written and the ink still drying on the terms sheet, the agents called up the major studios and advised them to be prepared. It was a bold, some might say arrogant, show of power. As Shapiro remembers it, We told them: You need to have all your decision makers in a room because were going to deliver the script for you to read together with a terms sheet. But theres a fuse on it. Youll only have a certain amount of time to make a deal.

Master Chief in the upcoming game Halo 4. Image: Microsoft

Because Hollywood is a town built on relationships, CAAs agents made sure they called all the major players. Even then there were some who felt snubbed; Miramax head honcho Harvey Weinstein called up to shout about being left off the list. Everyone had assumed Miramax wouldnt be interested in the property. Truth was they probably werent, but there was prestige to be had in being invited to the Halo party. The only major studio Microsoft refused to approach was Columbia, which was owned by Sony, its chief rival in the console war.

With his production background, Shapiro decided to add a little razzle dazzle to the proceedings. Remembering the Master Chief costumes hed seen at Comic-Con, he tracked down the one person in the U.S. who was fabricating the games official Spartan UNSC battle armour and hired seven suits: a Red, a Blue and several in Master Chief green. I had them shipped out to CAA, recalls Shapiro, they came in crates and had instructions about how to put them on. I hired character actors to wear the suits because, you know, you dont just put anyone in these suits. They had to feel like Master Chief.

For a few hours on June 6, 2005, Hollywood became Halowood. Everyone was buzzing about the Master Chiefs spotted walking through the studio lots and — more importantly — about the richness of the deal Microsoft was demanding. No one had ever seen anything like it before. Microsoft, the global corporation whose products sat on every desktop, had come to Hollywood and wasnt afraid of throwing its weight around. If showmanship and arrogance and Hollywood dont go together, I dont know what does, says Moore who was Microsofts go-between with Universal during the negotiations, reporting to the software companys point man Steve Schreck.

Not everyone was impressed. Movie executive Alex Young, who by the time of Halo had moved from Paramount to Fox, recalls reading the screenplay under Master Chiefs watchful eye. It was one of those gimmicky Hollywood things: hey, force everybody to be in a room, make it feel urgent, have a guy show up in costume and Oh my God! This feels like a big deal. It probably served Microsoft and CAA well at the time, but ultimately it seemed like a bit of manufactured theatre to me. Another problem was that the Halo property was so well-known by that point that everyone knew what to expect. You either loved the idea of making a Halo movie or you did not, suggests Young. Having a guy in costume deliver the screenplay wasnt going to convince you one way or the other.

In the end, though, it wasnt the Master Chiefs fault that the deal stumbled. Nor was it CAAs. The failure of the Halo movie remains a potent illustration of the gulf that still lies between Hollywood and the videogame business. It should have been the tent-pole movie to die for, instead it became the one that got away. Millions of Halo fans around the world wanted a movie, yet it failed to launch. Partly, it stemmed from the on-going inability of both sides of the deal to understand each others culture, needs and language.

“When the videogame industry talks to people they do it open-kimono and they expect the same transparency back. Hollywood doesnt function that way.”

Most of the studios who read the Halo screenplay passed immediately. Microsofts terms were simply too demanding. By the end of Master Chief Monday there were only two horses in the race: Fox and Universal. Microsoft hoped to use each to leverage off the other but hadnt banked on the studios very different approach to doing business. What the games industry doesnt understand is that this town is all about lunch, explains Shapiro. It doesnt happen like that in the games industry. If there was a movie studio going out to the games publishers to license Avatar or something like that, theyd say Ok were licensing Avatar, send us your best deal. But none of the games publishers would talk to each other and say Hey, what are you going to offer them?

The studios werent so reticent in sounding each other out. What happened was Universal called Fox and asked them what they were going to offer, continues Shapiro, who watched events unfold close-up. They decided to partner on it. Lets offer the same deal and offer to partner. So now we lost our leverage. Universal agreed to take U.S. domestic, Fox would take foreign. In the blink of an eye Microsofts bargaining position had been pole-axed.

The immensely powerful Microsoft had wandered into the deal navely expecting everyone to play by its rules and the resulting culture shock put immense strain on the Halo deal. For Moore, then corporate vice-president of the Interactive Entertainment Business division at Microsoft, there was clearly culture clash during the negotiations: You work for a company like Microsoft, where you do what you say, you say what you do; you think you have an agreement, youre ready to go, and then… [the deal falls apart].

It was something that talent agents working at the intersection between the two industries have experienced many times. When the videogame industry talks to people they do it open-kimono and they expect the same transparency back, says Blindlights Lev Chapelsky. Hollywood doesnt function that way, they dance and they sing and they play games and go through their ritual haggling. To somebody whos not accustomed to that, it can be insulting.

Microsoft clearly werent accustomed to it. They were used to being the strongest contender in any negotiation they entered into. But this time they were far out of their comfort zone. We dont understand Hollywood, Microsoft Games Studios general manager Stuart Mulder confessed to the trade papers in 2002 as the company inked in its deal with Shapiro at CAA. It was a throwaway comment that would turn out to be disturbingly prophetic.

What was apparent during the Halo deal-making was that Microsoft was far from home, perhaps even surrounded in enemy territory. In the middle of the Halo negotiations, as all parties sat around the table, Shapiro recalls the discussion between Microsofts Hollywood liaison Peter Schlessel and Jimmy Horowitz, Universals co-president of production, taking an aggressive turn. Schlessel was getting really tough on some of the terms with Horowitz: Come on, dont be a jerk, blah, blah, blah…. It was getting really heated. The guy from Microsoft [Steve Schrek] was like, Wow, this is really good. Then we took a break and Schlessel goes to Horowitz, Are you coming over for Passover? Because they know each other. You dont have those kinds of relationships in videogames. In Hollywood you can be getting at each other but then youre playing golf together the next day.

Even after the deal was struck, the misunderstanding over how the movie business operated continued to be a problem. Microsoft wanted a big-name director, but Peter Jackson, helmer on The Lord of the Rings trilogy, decided to sign on as a co-producer alongside Peter Schlessel, Mary Parent and Scott Stuber. Jackson wanted his new protg, an up-and-coming commercials whiz kid called Neill Blomkamp, to direct. With Jacksons fee running to several million dollars the studios knew there was an advantage in hiring a cheaper, less well-known talent to sit in the directors chair. Microsoft was reputedly not happy with the decision.

Blomkamp, a South African director who had made his mark with commercials for Nike and had shot an intriguing short about alien apartheid called Alive in Joburg, was concerned about getting chewed up and spat out while making his first feature with these three enormous corporations and a budget north of $100 million. My instinct was that if I crawled into that hornets nest it would be not good, and it was a clusterfuck from day one, he admits. Theres no question that there was a clash of worlds, for sure. The two sides werent seeing eye-to-eye.

What lured him in, beyond the obvious kudos, was his love for the property: I told Tom Rothman [co-Chairman of Fox Filmed Entertainment] that I was genetically created to direct Halo. However, Blomkamp quickly realised that the studio didnt share his artistic vision and was uncomfortable at the prospect of his gritty, post-cyberpunk aesthetic — all blurry video feeds and radio chatter – dominating a summer blockbuster. Rothman hated me, I think he would have gotten rid of me if he could have, says the director. The suits werent happy with the direction I was going. Thing was, though, Id played Halo and I play videogames. Im that generation more than they are and I know that my version of Halo would have been insanely cool. It was more fresh and potentially could have made more money than just a generic, boring film — something like G.I. Joe or some crap like that, that Hollywood produces.

Blomkamps relationship with Fox was particularly fraught. The way the deal was split between three major corporations and a handful of Hollywood producers caused several unusual imbalances in terms of power. The way Fox dealt with me was not cool. Right from the beginning, when Mary [Parent, Universals former president of production turned Halo producer] hired me up until the end when it collapsed, they treated me like shit; they were just a crappy studio. Ill never ever work with Fox ever again because of what happened to Halo – unless they pay me some ungodly amount of money and I have absolute fucking control.

He was also being pressured by Microsofts demands too. One of the biggest issues was creative control. Microsoft had paid Garland to pen the screenplay to their specifications in order to retain control over what was clearly a very valuable property to them. Halo was an Xbox exclusive title, a billion-dollar franchise, and its chief weapon in the console war against Sony. The problem was, though, that filmmaking was a collaborative exercise and total control simply wasnt possible.

If youre dealing with a company that doesnt understand the film industry, its sense of assurance comes with glossy names that have done a lot of big projects that have made a lot of money, says Blomkamp. I think the guys at Bungie liked what I was doing. Im fairly confident in saying they liked where I was going. Its highly possible that that artwork was getting back to Microsoft and Microsoft itself, the corporate entity, was not happy with it because it was too unconventional. I dont know if thats true or not, but it was entirely possible.

Against this fraught background, Universal funded $12 million of preliminary development on the movie. Some of the money was spent before Blomkamp came on-board by director Guillermo Del Toro, who was initially attached before going off to make Hellboy II: The Golden Army instead. The rest was spent on Blomkamps watch and included paying various screenwriters — Scott Frank, D.B. Weiss, Josh Olson — to redraft the original screenplay.

Meanwhile, Weta Workshop, the New Zealand physical effects company co-founded by Jackson, was fabricating real-life versions of the weapons, power armour and the Warthog assault vehicle from the game. Blomkamp would eventually use them to shoot a series of thrilling test shorts. The legacy of a movie never made, is how Moore describes the collected footage, which was later cut together under the title Halo: Landfall and used to promote the Halo 3 videogame release in 2007.

With development proving slow, Fox and Universal were beginning to get impatient. The gross heavy deal and costs increased the growing sense of unease. In October 2006, right before a payment was due to be made to the filmmakers and Microsoft, Universal demanded that the producers deals be cut. Jackson consulted with his co-producers and Blomkamp, as well as with Microsoft and Bungie, and refused. In a stroke, the Halo movie was pronounced dead in the water.

What ultimately killed the Halo movie was money. Microsofts unwillingness to reduce their deal killed the deal, says Shapiro. Their unwillingness to reduce their gross in the deal meant it got too top-heavy. That movie could have been Avatar.

Blomkamp agrees: One of the complicating factors with Halo was that Microsoft wasnt the normal party that youd go off and option the IP from and make your product. Because Microsoft is such an omnipresent, powerful corporation, they werent just going to sit back and not take a massive cut of the profits. When you have a corporation that potent and that large taking a percentage of the profits, then youve got Peter Jackson taking a percentage of the profits and you start adding all of that stuff up, mixed with the fact that you have two studios sharing the profits, suddenly the return on the investment starts to decline so that it becomes not worth making. Ultimately, thats essentially what killed the film.

Read more: http://bit.ly/2keFU3h

from Why the Halo Movie Failed to Launch