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ladyluscinia · 1 year ago

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Ok, I think I might be exiting the "are you fucking kidding me?" period and ready to make a real argument, so lets talk about Three Act Structure!

Is OFMD S2 just the "Darkest Hour"?

A very common explanation I've been seeing for some of the... controversial... aspects of S2 is that it's meant to be that way. That the middle act is where the protagonists hit their lowest point. Where we get the big failure point. Where everything looks kind of shit.

S2 is supposedly just that point. It's The Empire Strikes Back. People have been making that comparison since before the first episodes even dropped, telling everyone to expect something that could be disappointing or unsatisfying - it's just a matter of needing to wait for S3 to pull it all together.

It's not a baseless framework to consider the show through - I'm pretty sure David Jenkins has mentioned it in interviews (or at least mentioned he planned for three acts / seasons) so it's certainly worth asking how he's doing at the 2/3rd mark.

So - quick summary of Three Act Structure:

Act 1 introduces our characters and world. It includes the inciting incident of the story and the first plot point, where a) the protagonist loses the ability to return to their normal life, and b) the story raises whatever dramatic question will drive the entire plot. Act 2 is rising action and usually most of the story. The protagonist tries to fix things and fucks them up worse, in the process learning new skills and character developing to overcome their flaws. Act 3 is the protagonist taking one more shot, but this time they are ready. We get the climax of the story, the dramatic question gets an answer, and then the story closes.

If you want examples, the Star Wars Original Trilogy is a very popular template. And, hell, he said it was a pirate story... the main Pirates of the Caribbean trilogy also does a solid job with their three acts.

Let's compare. (Spoiler: I'm not impressed 🤨)

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First thing I need to establish... Wait. Two things. First is that Three Act Structure is flexible, so we can't really analyze success or failure by pulling up a list of necessary plot beats that should have been hit in X order. Second is that if you tell me you are writing a romance with a Three Act Structure - where "the relationship is the story" - the first thing I'm going to do is ask you how you are adapting it. Because while there's not necessarily anything preventing you from applying this to a character driven plot, most people are familiar with it as plot structure for externally driven conflict.

Unless there's a reason the status of the main relationship is intrinsically tied up in the current status of the war against the evil empire, a standard Three Act Structure is going to entail either an antagonistic force that absolutely wants your main couple apart being the main relationship obstacle OR the romance aspect being a subplot to the protagonist's narrative adventure. None of those sound like how the show has been described.

So how is OFMD adapting it?

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Act 1

(Can't figure out how well Act 2 is doing if we don't start at setup.)

Right out the gate, OFMD breaks one of the main "rules" for a story where the Acts are delivered in three parts. Namely the one where the first Act is treated as an acceptable standalone story, with it's own satisfying yet open ended conclusion.

In Star Wars, A New Hope ends with the princess rescued, Luke finding the Force, Han finding his loyalty, and the Death Star destroyed. The Empire isn't defeated, the antagonists still live... the story is not over, but this one movie doesn't feel unfinished.

Similarly, Curse of the Black Pearl gives Jack his ship back, Elizabeth and Will get together, and Norrington has the English Navy let them all off the hook and give Jack and the pirates one day's head start.

OFMD's final beat of S1 being Kraken Arc starting is not that, even if Stede returning to sea is still a pretty hopeful note. Now... I don't necessarily think this was a bad call. At least, not if the story is the relationship. It's easy to close on a happy ending and then fuck it up next movie if the conflict is external and coming for them. Not so much if you're driving the story with your protagonists' flaws, in part because it should be really obvious at the end of setup that your main characters need development and can't run off together right now. I actually like that they were risk-takers and let S1 look at the situation clearly vs doing a fragile happy end, because it takes into account the difference between a character-driven and plot-driven narrative.

I think OFMD's Act 1 actually ends at maybe the Act of Grace? Well, there through the kiss on the beach, counting as our "first plot point" before everything goes wrong, basically.

At that point, they have setup the story and characters. We've been introduced to Edward and Stede's current issues. Signing the Act of Grace does make the intertwined arcs between them real - it's no longer a situation that either one of them could just walk away from like it was in 1x07 - and we narrow in on the (alleged) driving question of the show:

It's not about "Will Stede become a great pirate?" or "Will we develop a better kind of piracy for the crew?" - the show is the relationship and the big question is "What is Stede and Edward's happy ending?"

Act 1 ends on their first solution, being together and making each other happy and admitting it's more than just friendship. Act 2 starts, appropriately, by saying both of them are currently too flawed for that to go anywhere but crashing and burning.

Now... looking back, what does Act 1 do well vs poorly?

I think it's really strong on giving us the foundation for BlackBonnet's characters and flaws. We aren't surprised Stede goes home or Edward goes Kraken (or at least... we weren't supposed to be surprised. There are still a lot of holdouts blaming Izzy for interrupting Edward's "healing" despite how at this point in the story it doesn't make sense for Edward to have the skills to heal... but I digress). The relationship question is compelling at the end of S1, the cliffhanger hooks, and the fandom explosion of fics did not come from nowhere - the audience was invested.

I also think Act 1 does a great job of settling us in the universe. We understand the rules it abides by, from how gay pirates are just a fact of life to how there's no important organs on the left side of the body. Stede has a muppety force field. Rowboats have homing devices, and port is always as close as you want it to be. Scurvy is a joke. The overblown violence of pirate life is mostly a joke, but we are going to take the violence of childhood trauma seriously.

Lucius's fake-out death, while technically part of Act 2, works well because Act 1 did a good job of priming everyone to go "obviously this show wouldn't kill a crew member for shock value, and we're 100% supposed to suspend disbelief about how he could have survived getting flung into the sea in the middle of the night." And we do. And we get rewarded for it.

Regarding antagonists - a big focus of any setup - the show is deliberately weak. The one with the most screentime is Izzy, and he's purposefully ineffective at separating our main couple. Every antagonist is keyed to a particular character, and they function mostly to inform us of that character's flaws and development requirements. The Badmintons tell us about Stede's repression and feelings of inadequacy, and Izzy tells us about Edward's directionless discontent and tendency to avoid his problems. Effectively - the show is taking the stance this will be a character driven narrative where Stede and Edward's flaws are the source of problems and development the solution. No person or empire (or social homophobia) is separating them...

...which leads me to something not present - there nothing really about the struggle of piracy against the Empire. Looking at Curse of the Black Pearl... we see piracy is in danger. The Black Pearl itself is described as the last great pirate threat the British Navy needs to conquer. Hangings are omnipresent - Jack is sentenced to die by one almost as soon as he's introduced to the story, when his only act so far had been to wander around and save Elizabeth from drowning. OFMD tries to invoke this kind of struggle in 2x08, but there's no foundation. Our Navy antagonists are Stede's childhood bullies, and so focused on Stede the crew isn't even in danger when they get caught. The Republic of Pirates is getting jokes about being gentrified, not besieged.

Even the capture of Blackbeard by the Navy is treated as a feather in Wellington's cap but not a huge symbolic blow against piracy... because we just do not have that grand struggle woven into Act 1. You only know the "Golden Age of Piracy" is ending if you google it, or have watched a bunch of pirate shows.

Overall, a solid Act 1, well adapted to the kind of story they've said they were looking to tell - a romance in the (silly-fied) age of piracy, instead of a pirate adventure with a romantic subplot.

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Now, Sidebar - Where is the story going?

The thing about the dramatic question - in OFMD's case: "What is Stede and Edward's happy ending?" - is that a) there's normally more than one question bundled up in that one + sideplots, and b) while you aren't supposed to have the answer yet, you can usually guess what needs to happen to give you the answer.

Back to our examples... Luke's driving question is "Will the Empire be defeated?" Simple. Straightforward. Also: "Will Luke become a Jedi?" The eventual climax of our story from there is pretty obvious... the story is over when Luke wins the war for the Rebellion in a Jedi way. That's the goal that they are working toward.

Pirates of the Caribbean is a bit more complicated. We're juggling more characters and have a less defined heroic journey, but there are driving questions like "Is Jack Sparrow a good man?" and "Is Will Turner a pirate / what does that mean?" and even "Will the British Navy defeat piracy?" They get basic answers in Curse of the Black Pearl, and far more defined ones in At World's End. Still, this is another plot-driven narrative. They've laid the foundations for the Pirates vs Empire struggle, and when that final battle turns into the trilogy climax then you know what's happening.

OFMD is not doing a plot-driven narrative. To judge how they are doing at their goals, we have to ask what they think a happy ending entails in a character sense.

Clearly it's not the classic romantic sideplot, where the climax is the first kiss / acknowledgement of feelings. They've teased a wedding in Word of God comments a lot, so that's probably our better endpoint. Specifically, though, a wedding where both of our protagonists aren't ready to flee from the altar (big ask) and where they've both grown enough that their flaws / mutual tendencies to run away from life problems won't tank the relationship.

In Stede's case it's still massive feelings of inadequacy and being too repressed to talk about his problems. Also he ran away from his family to chase a lifelong dream of being a pirate - "Is Stede going to find fulfillment in being a pirate captain, or will the real answer be love?" Edward meanwhile expresses a desire to quit piracy and retire Blackbeard, but we also find out he's struggling with massive self-loathing and guilt from killing his father - "Is retiring what Edward wants to do, or is he just running away?"

If they are going to get to a satisfying wedding beat at the climax of their story, what character beats do we need to hit in advance?

Off the top of my head - both characters need to self-realize their flaws (a pretty necessary demand of anyone who runs away from problems). They are set up to balance each other well, but also to miscommunicate easily. They have to tell each other about or verbally acknowledge that self-realization so it can be resolved. Stede has to decide how much being a pirate means to him. Edward has to decide if he's retiring and what he wants to do. They both need to show something to do with getting past their childhood traumas given all the flashbacks. Through all this, they also need to hit the normal romance beats that convince the audience they are romantically attracted to each other and like... want to get married.

Oh, and this is more of a genre-specific sideplot, but once they demonstrate a behavior that hurts the people who work for them, they need to then demonstrate later how it won't happen again. Proof of growth, which is kind of important in a comedy where a lot of the humor is based in them being massively self-centered assholes. Stede doesn't earn his acceptance in the community until he kicks Calico Jack off the ship, making up for causing the situation with Nigel in the first episode. A workplace comedy can get a lot of material from the boss as the worker's antagonist, but if you want the bosses to stay sympathetic you have got to throw them some opportunities to earn it.

All that sounds like a lot, but like - the relationship is the story, right? If we spend so much time on establishing flaws big enough to drive a story, we also have to spend time on fixing them. Which is where the turning point hits.

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Act 2: How it Starts

This is where the full story reality-checks your protagonist. Glad you saved your boyfriend and embraced new love in Act 1, but his repressed guilt means he's about to completely ghost you, and your own abandonment issues and self-loathing are about to make his dick move into everyone else's problem.

Again, it's a non-conventional choice OFMD has this start at the very end of S1 rather than with a sudden dark turn in the S2 premiere, but it's still pretty clearly that point in the Three Act Structure.

In Star Wars, The Empire Strikes Back opens with a timeskip to our Rebellion getting absolutely crushed and hiding on a miserable frozen planet. The Empire finds them as the plot is kicking off and they have to desperately flee. They get separated. Han and Leia try to go to an ally for help and end up in Vader's clutches. It's a sharp turn from the victorious note that A New Hope ended on.

Pirates of the Caribbean's Act 2 starts dark. Dead Man's Chest opens with our happy couple Will and Elizabeth getting arrested on their wedding day for the "happy end" escape of the last movie. Jack has not been having success since reclaiming his ship, and we'll soon find out he's being hunted by dark forces. As for the general state of piracy, we get a horrifying prison where pirates are being eaten alive by crows, and a new Lord Beckett making the dying state of piracy even more textual. "Jack Sparrow is a dying breed... The world is shrinking."

The key here is making a point that our heroes aren't ready. This is the struggles part - things they try? Fail. The odds do not look to be in their favor.

Now, OFMD apparently decided to go all-in on flaw exploration, especially with Edward. The first 3 episodes of S2 are brutally efficient in outlining Edward's backslide. In S1 you could see he had issues with guilt and feeling like a bad person. S2 devolves that into a destructive, suicidal spiral where Edward forces his crew into three months of consecutive raids, repeats his shocking act of cruelty with Izzy's toe offscreen (more than once!), escalates it with his leg, and finally they state directly that Edward hates himself for killing his dad so much that he fears he's fundamentally unlovable and better off dead.

Stede's struggles are subtler, but most definitely still there. He's deliberately turning a blind eye to tales of Edward's rampage, half from simply being too self-centered to care about the harms Edward causes others, and half from being unable to face or fathom that he had the ability to hurt Edward that much. Upon reunion he wants to put the whole thing behind them, not addressing why he left in the first place. Very "love magically fixes everything" of him, except Stede is no golden merman.

Interestingly, here, BlackBonnet's relationship dysfunction has very clearly been having a negative impact on the surrounding characters we care about. Make sense, since it's the driving force of the story, but that also adds a lot more relationships we need to make right. Like... Edward is the villain to his crew. The show focuses on their trauma and poisoned relationships with him. And then draws our attention even more to Stede taking his side to overrule their objections to him.

For a story where the conflict and required resolutions are primarily character based, and the setup had already given the main couple a good amount to work with, dedicating a lot of S2 to adding more ground to cover was... a choice. Potentially very compelling on the character end, certainly challenging on the writing end... but not a complete break with the structure.

Bold, but not damning.

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Act 2: How it Ends

Now it is true that Act 2 tends to end on a loss. Luke is defeated by Vader and loses his hand, and Han has been sent away in carbonite. Jack Sparrow for all his efforts cannot escape his fate, and he and the Pearl are dragged to the locker.

But the loss is not the point. The loss is incidental to the point.

Act 2 is about struggles and failure, but it's also about lessons learned. There's a change that occurs, and our cast - defeated but not broken - enters the final act with the essential skills, motivation, knowledge, etc. that they lacked in the beginning.

Luke Skywalker could not have defeated the Empire in Return of the Jedi until he'd learned the truth about his father and resisted the Dark Side in The Empire Strikes Back. (Ok, confession, I'm using Star Wars as an example because literally everyone is doing so, but frankly it's a better example of formulaic Three Act Structure repeating within each movie because on a trilogy level - relevant to this comparison - it is a super basic hero's journey in a very recognized outfit and as such the Act 2 relevance is also... super basic "the hero tries to fight the antagonist too early" beat where he learns humility. Not really a lot going on. So, for the better example...)

Dead Man's Chest has a downer ending with the closing moment of the survivors regaining hope and a plan against an enemy now on the verge of total victory - a classic Act 2. But in that first loss against Davy Jones we get Will's personal motivation and oath to stab the heart, Jack finally overcoming not knowing what he wanted and returning to save them from the Kraken (being a good man), Elizabeth betraying Jack (being a pirate), Barbossa's return, and Norrington's choice to bargain for his prior life back. The mission to retrieve Jack from the World's End is the final movie's plot, but things are already on track to turn the tables back around as we enter the finale.

Now, relevant sidenote - one major difference between Three Act Structure within a single work vs across three parts is that Act 2 continues into Part 3, and only tips over into Act 3 about midway through. This is because obviously your final movie or season cannot just be the climax. That's why both movie examples start with a rescue mission. They have to still be missing something so they can get the plot of their third part accelerating while they go get whatever that something is.

But if you wait until the 3rd movie / season to get the development going at all - you're fucked.

Jack's decision in the climax of At World's End to make Elizabeth into the Pirate King goes back to the development we saw in the Pearl vs Kraken fight in Dead Man's Chest. So does Elizabeth's leadership arc. Will's whole arc about becoming Captain of the Dutchman gets built upon in the third movie, but it starts in the second. Not just as an idle thought - he's actively pursuing it. Already consciously weighing saving his father vs getting back to Elizabeth as soon as he makes the oath. Everyone is moving forward in Act 2. Their remaining development might stumble for drama, or they might be a bit reluctant, but I know that they know better than to let it stick, because they already faced their true crisis points.

I'm not sure we can say the same about OFMD.

S2 does a good job of adding problems, yeah, but there's not really any movement on fixing them. Our main couple stagnates in some ways, and regresses in others.

Stede opened Act 2 by running away in the middle of the night back to his wife without telling Edward anything. We know he did it because of feeling guilty and his core childhood trauma of his dad calling him a weak and inadequate failure. Now in S1 he actually speedruns a realization of his shitty behavior with Mary, but what about S2? Well...

He continues to not talk to Edward about... pretty much anything. My guy practiced love confessions galore but Edward only finds out about going back to his wife via Anne, and it gets brushed aside with a love confession. He seems to think Edward wants him to be a dashing pirate, or maybe he just thinks he should be a dashing pirate. Idk, it doesn't get examined. Regarding his captaincy, they give him an episode plot about Izzy teaching him to respect the crew's beliefs, but this is sideplot to a larger arc of him completely overruling their traumas and concerns (and shushing their objections) to keep his boyfriend on the ship so. That.

Stede kills a man for reasons related to his issues, shoves that down inside and has sex with Edward instead of acknowledging any bad feelings. At least this time Edward was there and knows it happened? Neither Chauncey's death nor his dad have been mentioned to anyone. He gets a day of piracy fame that goes to his head, gets dumped, and ends on a complete beat down by Zheng where he learns... idk. Being a boor is bad? He's still wildly callous to her in the finale, and spends the whole time seeking validation of his pirate skills. He reunites with Edward, kisses, and quotes Han Solo.

Where S1 ended on a great fuckery, his S2 naval uniform plan after they regroup is ill defined except to call it a suicide mission - and we don't get to see what it would have been because it devolves into a very straightforward fight and flee. And gets Izzy killed. Quick cut funeral (no acknowledgement of his S2 bonding with Izzy), quick cut to wedding (foreshadowing), quick cut to... innkeeper retirement? Unclear when or even if BlackBonnet discussed Stede's whole driving dream to be a pirate and live a life at sea, but I guess that got a big priority downgrade. Despite the fact he was literally looking to Zheng for pirate-based compliments in the post-funeral scene.

I guess he's borderline-delusionally dogged in his pursuit of love now - so unlikely to bolt again - but he's also got at least a decade of experience mentally checking out in a state of repression when he's unhappy. And he's stopped being as supportive and caring toward the crew in that dogged pursuit, while arguably demonstrating a loss in leadership skills, so, um, good thing someone else is in charge?

And if Stede is a mess, Edward's arc is so much worse.

As established, they devote the Kraken to making Edward worse. He literally wants to kill himself and destroy everyone around him in the process because Stede left, and this is fixed by... Stede coming back. That's it. The crew tries to murder him and then exiles him from the ship (and Izzy takes the lead on both, indicating exactly how isolated Edward has become), but it's resolved in half a day by Stede just forcing them to put up with his boyfriend again. Like they think he murdered Buttons and still have to move him back in???

The show consistently depicts Kraken Era as a transgression against the crew, but they also avoid showing Edward acting with genuine contrition. He admits he historically doesn't apologize for anything, and then mostly still doesn't. It's a joke that he's approaching probation as a performance (CEO apology), and then the only person he genuinely talks to is Fang - the one guy cool with him - and the only person who gets a basic "sorry" is Izzy - the guy he really needs to be talking to. Edward's primary trauma is guilt, but apparently he only feels it abstractly after all that? He's only concerned with fixing things with Stede, despite Stede being about the only person around who hurt him instead of the reverse.

Speaking of primary traumas, Edward hating himself doesn't really go anywhere after the beat of self-realization. Apparently Stede still loving him is enough of a bandaid to end the suicide chasing, but he doesn't like. Acknowledge that. Edward is maybe sorta trying to go slow so he doesn't hang all his self-worth on Stede again (you can speculate), but they a) absolutely fail to go slow, and b) he doesn't make any attempt to develop himself or another support structure. Just basically... "let's be friends a bit before hooking back up." And then we get the whiplash that is Blackbeard and/or retirement.

Kraken Era is Blackbeard but way worse, like no one who has known Blackbeard has ever seen him. In the Gravy Basket Edward claims he might like being an innkeeper, before destroying his own fantasy by having the spectre of Hornigold confront him over killing his dad. The BlackBonnet to Anne & Mary parallel says running away to China / retiring makes you want to kill each other - burn it all down and go back to piracy. Stede rightfully points out prior retirement plans were whims. Edward gets sick of the penance sack after a day and puts his leathers back on to go try "poison into positivity". But also claims to be an innkeeper (look - two whole mentions!) when trying not to send children to be pirates after teaching them important knife skills.

Killing Ned Low is a serious, bad thing that prompts ill-advised sex and then going hardcore into retirement mode - leathers overboard, talk about mermaid fantasy, get retirement blessings from Izzy, end up dumping Stede for a fishing job instead of talking about how he's enjoying piracy. The fishing job, however, is also a bad thing and a stupid decision because Edward is a lazy freeloader fantasizing about being a better person. We have an uncomfortable, extended scene of "Pop-Pop" weirdly echoing his abusive dad and then sending Edward to go do what he's good at - disassociate, brutally murder two guys, fish up the leathers, rise as the Kraken from the sea. He continues with comically efficient murder but also he's reading Stede's love letters and seeking to reunite with him so... wait, is this a good thing? Post makeout / mass slaughter he's trading compliments on his kills with Zheng so. Yeah. Looks like it. Murder is fine.

Wait, no, skip ahead and Izzy is dying and Edward suddenly cares a whole lot as Izzy makes his death scene about freeing Edward from Blackbeard. Now being a pirate was "encouraging the darkness" because Izzy - a guy who had little to no influence over Edward's behavior - just couldn't let Blackbeard go. Murder is bad again, and he is freed. Minus the little detail that the murder he explicitly hates himself over was not related to Blackbeard or piracy whatsoever, so presumably haunts "just Ed" still. Anyway he's retiring to run an inn with Stede now, as the "loving family" Izzy comforted him with in his dying moments sails away from the couple that can best be described as the antagonists of their S2 arc. Also Edward implicitly wants to get married. It's been 3 days since making out was "too fast". He's still wearing the leathers.

So most of the way through Act 2 and Edward's barely on speaking terms with anyone but Stede, who he has once again hung his entire life on really fast? Crushing guilt leads to self-hatred leads to mass murder and suicide, but only if he's upset so just avoid that. He's still regularly idealizing Stede as a non-fucked up golden mermaid person (that maybe he personally ruined a bit) because he barely knows the guy. His only progress on his future is "pirate" crossed out / rewritten / crossed out again a few times, "fisherman" crossed out, and "innkeeper ?"

Just.

Where is the forward movement?

It's not just that the inn will undoubtedly fall apart - it's that the inn will fall apart for the near-exact same reasons that China was going to at the beginning of Act 2, and I can't point to anything they've learned in the time since that will help them. I guess Stede realized he loved Edward enough to chase after him, but that was in S1! They should be further than this by now. You can't cram another crisis backslide, all the Act 2 development, and the full Act 3 climax into one season. Certainly not without it feeling like the characters magically fix themselves.

If they just fail and keep blindly stumbling into the same issues because they don't change their behavior, then Act 2 doesn't work. You're just repeating the turning point between Act 1 & Act 2 on a loop.

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Where Did They Fuck Up?

Actually... lets start on what they did right.

The one consistent aspect of S2 that I praised and still think was done well in a vacuum (despite being mostly left out of the finale) was the crew's union-building arc.

With only 8 episodes and more to do in them than S1, side characters were going to get pinched even if the main plot was absolutely flawless. That was unavoidable. With budget cuts / scheduling issues, we regularly have crew members simply vanish offscreen outside of one scene, meaning cohesive arcs for your faves was not likely. Not to say they couldn't have done better - my benefit of the doubt for the TealOranges breakup and Oluwande x Zheng dried up about when I realized he was literally just her Stede stand-in for the parallel - but something like Jim's revenge plot from S1 was realistically not on the table without, like, turning half the crew into seagulls to afford it.

The union building works around this constraint really well. They turn "the crew" into the side arc, and then weave Izzy's beats in so that they aren't just about Izzy. The breakup boat crew working together to comfort each other and protect him turns them into a unit, and Stede's crew taking it upon themselves to address the trauma vibes while the captains aren't in the way solidifies it across all our side characters. The crew goes to war with Stede's cursed coat and wins, they Calypso their boss to throw a party, and they capitalize on a chance to make bank with an efficiency Stede could only dream of.

We don't get specific arcs, but Frenchie, Jim, and Oluwande are defaulted to as leaders in just about every situation, and Roach is constantly shown sharing his inventions with different characters. Individuals can dip in and out without feeling like the sideplots stutter. Any sense of community in S2 is coming from this arc - even if there are cracks at the points where it joins to other storylines (Stede and Edward, Zheng, etc.)

So why does it work? Well, because it's a workplace comedy, and you can tell they are familiar with working on those. They know where the beats are. They know where to find the humor. They know how to build off of S1 because they made sure the bones were already there - an eclectic group of individuals that start as just coworkers, but bond over time in the face of their struggle against an inept boss who they grow to care for and support while maintaining an increasingly friendly antagonism because, you know, inept boss.

OFMD does its best work in S2 when it's being true to its original concept... and its worst work when it seemingly loses confidence in its own premise.

"The show is the relationship," right? It's a romance set in a workplace comedy. The setup of Act 1 was all about creating a character-driven narrative. So given that... where the hell are we getting the dying of piracy and a war against the English Navy?

That's not a character-driven romcom backdrop, it's an action-adventure plot from Pirates of the Caribbean or Black Sails. It's plot-driven, creating an antagonistic force that results in your characters' problems. Once the story is about the fight against the Empire, the dramatic question becomes the same as those adventure stories - "Will the British Navy defeat piracy, and will our protagonists come out the other side of the battle?"

Forget the wedding. The wedding is no longer the climax of the story, its back to the happy ending flash our romantic subplot gets after winning this fight.

Except, of course, trying to pivot your story to a contradictory dramatic question near the end of Act 2 can be nothing short of a disaster, because either you were writing the wrong story until now, or you've completely lost the plot of the real one. I shouldn't even be trying to figure out if they are doing this, because it should be so obvious that they wouldn't.

And yet.

What do the Zheng and Ricky plots add to the story if not this? Neither of these characters have anything emotionally to contribute to Stede and Edward - they truly are plot elements. It's a hard break from the S1 antagonist model, but it also takes up a lot of valuable screentime. This was considered important, but still Zheng's personality and motivation only gets explored so far as it's an Edward-Stede-Izzy parallel with Oluwande and Auntie, and they only need the parallel for Izzy's genre-jumping death scene. Which follows a thematically out-of-left-field speech about how piracy is about belonging to something good (workable) and how Ricky could never destroy their spirits (um...?). And then David Jenkins is pointing to it and saying things about "the symbolic death of piracy" and speculating S3 might be about the crew getting "payback"??? An idea floated by Zheng right before our temporary retirement, btw.

Fuck, the final episode of S2 didn't have time for our main couple to talk to each other because it was so busy dealing with the mass explosion of Zheng's fleet and Ricky's victory gloat. We get lethal violence associated with traumatic flashbacks until they need to cut down enemy mooks like it's nothing, at which point we get jokes with Zheng. The Republic of Pirates is destroyed outright, and it feels like they only did it because they got insecure about their "pirate story" not having the right kind of stakes. Don't even get me started on killing a major character because "Piracy’s a dangerous occupation, and some characters should die," as if suspending disbelief on this aspect makes the story somehow lesser, instead of just being a fairly standard genre convention in comedy. Nobody complains about Kermit the Frog having an improbably good survival record.

Did someone tell them that the heroes have to lose a battle near the end of Act 2, so they scrambled to give them one?

Just... compare the wholly plot-driven struggle in 2x08 to Stede and Edward's character-focused storylines in 1x10 and tell me how 2x08 is providing anything nearly as valuable to the story. Because I can't fucking find it.

At best they wasted a bunch of time on a poorly integrated adventure plot as, like, Zheng's backstory or something, and just fucked it up horribly by trying to "step up" the kind of plot they did for Jim. In which case the whole thing will be awkwardly dropped but damage is done. Otherwise, they actually thought they could just casually add a subplot like this because they've done something wildly stupid like think "pirate" is a genre on the same level as "workplace comedy" and can just trample in-universe coherency while you draw on other media to shore up their unsupported beats.

Bringing us to the most infuriating bit...

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"...end the second season in a kinder spot."

If this was the goal, the entire season was written to work actively against it in way that is baffling and incompetent.

The really ironic thing is that the reason that the Act 2 part typically gets a downer ending is because of the evil empire that OFMD did not have to deal with until they pointlessly added it. A plot-driven story has an antagonistic force - a villain - that the heroes need to defeat. Something external working against them. The story ends when they beat the thing, and it's not much of a climax if they do most of the defeating before you get there. Ergo, they have to be outmatched up to the climax. Ergo, the second part cannot end on them feeling pretty comfortable and confident going into the third.

The same rules do not apply in the same way to a character-driven arc.

We already established Edward and Stede declaring their love is not the end of the story. Nor, necessarily, is both of them confidently entering a relationship. Even once they've developed a bunch they will have to show that development by running into the kinds of problems that would have broken them up before and resolving them better.

David Jenkins keeps talking about this idea that S2 is getting a hopeful open ending and S3 will get into potential problems, and like... I don't see any reason why they couldn't have done that successfully. They didn't, but they could've.

If S2 grew them enough as characters and then had them agree to try again in the last minute of the finale, they absolutely could have had a kind and hopeful ending where you were confident they could do it. And then a potential S3 can show that. It's a bit rockier than they were counting on, but they have learned enough lessons to not break up. And then the overall plot can build to proposal (start of Act 3) and wedding (the romantic climax). It doesn't have to be a blow out fight to be emotionally cathartic.

(Hell, the main rockier bit that they overcome in the S3 Act 2 portions could be marriage baggage. I'm sure they both have some. It would work.)

In the same way focusing on our character's long term flaws and character-driven conflict makes an Act 1 "happy ending" more difficult, I suspect it makes an Act 2 "happy ending" easier.

Instead they wrote an Act 2 that failed to convincingly start development and got confused on its direction, and then presented a rushed finale ending in a copy of the predictable disaster from S1 as though it's a good thing. They yanked the story at least temporarily into an awkward place where a romcom is trying to sell me on a bunch of serious drama / adventure beats that it has not put the work into, and inviting comparisons to better versions of those same beats in other, more suited media that make it look worse. The need to portray everyone as reaching happy closure overrules sitting with a major character death and using it for any narrative significance, while still letting it overshadow those happy endings because a romcom just sloppily killed a major character with a wound they've literally looked into the camera and said was harmless.

If I'm being entirely honest, Dead Man's Chest ends effectively at Jack Sparrow's funeral and then cuts to the British Navy obtaining a weapon of mass destruction, and it still feels kinder and more hopeful just because I leave with more faith the characters are actively capable of and working toward solving their problems.

OFMD S2, in contrast, has half-convinced me our main couple would live in a mutually obsessed, miscommunication-ridden horror story until they die.

---

Additional Reading

Normally I link stuff like this in the post, but that requires more excitement than I'm feeling right now. Here's my alternative:

Where I thought they were going with Edward - really outlines the mountain of character development they still have unaddressed

Where I thought they were going with Izzy - touches on a lot of themes that might be dead in the water & also context that's still probably relevant to why Izzy got a lot of focus in S2

My scattershot 2x08 reactions

An ask where I sketched out the bones of this argument, and another where I was mostly venting about the fandom response

This one, this other one, and this last one (read the link in op's post too) about genre shifts and failure to pull them off

The trauma goes in the box but it never opens back up - the whole point of Act 2 is that they needed to start opening shit like that - and also they focus so much on needed character growth and so little on following through

They can't even carry through on character growth that we got last season???

Why Izzy's death feels like Bury Your Gays ran smack into shitty writing

EDIT: Oh and this post is REALLY good for outlining the lack of change in way less words than I did

#our flag means death #ofmd #ofmd s2 #ofmd s2 spoilers #ofmd meta #three act structure #character arcs #blackbonnet #genre #blackbeard ofmd #stede bonnet ofmd #my meta #ladyluscinia #ofmd critical

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this-is-gonna-hurt-me-inside · 10 months ago

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Codywan POTC AU ideas

Ok so people seemed to like the idea (and my lack of experience in actually making posts that reach people showed when I tried to make this post through reblogging and it didn't appear anywhere :') ) so here's what I currently have with some rough drawings!

Here's the original post I made about it

Ideas and drawings for AU below, please feel free to use!! No idea if I'll actually write something for it, the creature in charge of driving my brain will decide I guess.

Ok so, Obi-Wan fills the role of Elizabeth and Cody is Will in terms of who’s the governor’s child (or grandchild/ward here) and who is found floating at sea with a mysterious medallion and becomes a blacksmith. Going to deviate from the story a lot but needed Cody to have that blood importance link - you will see why later.

Dooku is governor who takes in his grandson Obi Wan as his ward after Qui-Gon’s death, then brings him with him to port royal (feel like Dooku is a good fit for all the colonisation/sugar plantations/definitely not the good guy the films presented him as considering Caribbean in the 1770s.) Obi-wan and Cody grow up keeping in contact and obliviously infatuated with each other as per films.

Not sure if there’s a Norrington equivalent here. Satine would probably be the easiest fit in terms of romantic triangle but couldn’t be an exact match as she’d never be a soldier even if we ignored period accuracy (no idea if I will or not) and a lot of his actions would be an insult to her as a character. Think it would probably be that Satine and Obi-Wan are dear friends who aren’t interested in each other romantically but are being pressured to marry because advantageous match etc. (Possibility of both getting into Methodism and abolitionism through that and that being their points of discussion, and the clash occurs when from start of events of second film Obi-Wan goes and begins to take a much more active route to abolition eg. Killing slavers and boarding their ships to liberate those inside. Satine being against the killing and violence etc but thats later on!)

For Captain Jack Sparrow, who better than the greatest space pirate of them all, Hondo Ohnaka! (Was considering having Quinlan Vos for it but feel like his moral compass is too strong honestly)

As in the films, black pearl (possibly renamed) attacks the port and Obi-Wan is taken aboard with medallion when he invokes parley and, when he gives his surname as Fett, is taken away as they leave. Barbossa I’m currently thinking is Maul (which ties in beautifully and absolutely not completely accidentally with the clone wars episode where Hondo’s crew mutiny him to join Maul) who is going to manage to get singularly obsessed with Obi-Wan by the end of the events of the first film where he is not actually dead/possibly reincarnated like Barbossa in the films but blames Obi-Wan for everything (which would honestly be more justified than the root of Mauls obsession in canon).

Cody breaks Hondo out to help him rescue Obi Wan, they assemble a crew on Tortuga. Various Jedi characters will be appearing as part of a large network of escaped slaves and outlaws (for various reasons) who want to help people in similarly difficult and/or dangerous situations. The Jedi have had dealings with Hondo before and essentially have a similar reaction to him as ghost crew in rebels - don’t trust him as far as they can throw him but often forced to work with him against their better judgement.

Plot progresses as first film but more oh the real villains are the colonisers (though Maul and his crew are giving them a run for their money). Find out that not only is Fett blood needed to break the curse since Jango was involved with initial treasure taking, but there’s a mysterious extra reason why people are wanting to get their hands on a son of Fett. Murmurs of gaining favours with others saying it’s bad luck to have one on the same ship as them. Jedi and Hondo who have known Fett are also reluctant to give their opinion when Cody asks what Jango was like.

Movie accurate romantic and sexual tension between obi-wan and cody, gonna say period accurate homophobia also playing its part in stopping them acting on it.

After being rescued from being marooned Obi-Wan promises Dooku he will marry Satine if they rescue Cody, then sneaks out of ship to help take the Pearl and then on to rescue Cody. If it is Jedi in the crew they may well go with him but otherwise same as film. Hondo persuades Maul that he should become a commodore and Mauls crew “take a walk”. Then events as film but Obi wan kills Maul.

When they’re back at port royal, Cody saves Hondo from execution and Obi Wan saves them both either through really banking on his power as Dooku’s ward/heir or sneaking them away with distraction (possibly even before execution date). I quite like the second option as there’s an opportunity for using smugglers tunnels and a first, desperate kiss as Cody escapes with Hondo to join the crew on the Pearl.

So ends first film as it were. Here’s some more rough drawings of Cody and Obi-Wan start of first film vs third film. I absolutely used a reference for that first drawing of Cody and I nabbed the obi wan base for the drawings from another piece I’m working on so sorry about style discrepancies!

Second film! Satine and Obi-Wan’s wedding is taking place the next day and Cody, who has been writing letters back and forth with Obi-Wan , is waiting in the smugglers cave for him so they can run away together. But Obi-Wan never shows. Cody either hears at port or through Satine directly (who knew the plan to run away and was banking on the scandal meaning she could avoid marriage for a good while afterwards) that Obi-Wan has been taken into captivity by a Lord Palpatine/Sidious working for the interests of the East India Trading Company. The charges are for aiding and abetting pirates, his role in helping Hondo and Cody escape has been discovered apparently (maybe yes maybe no, Palpatine doesn’t give a fuck he just wants the compass). Cody somehow finds out about the compass being the wanted trade (Satine as a go between perhaps? Saying she’ll send hired men to get the thing that will save her fiancé?) and heads off in search of Hondo.

Hondo’s meanwhile been visited by an old friend to tell him it’s time to pay his debt, and the black spot appears in his hand. Surprise it’s not Jango! It’s Either Fox or Rex! Hondo scared shitless and runs ship aground on an island which is where Cody finds him and his crew at that time. (Do the Jedi help him get there??) Anyway think the island scenes will be more OFMD vibes than actual events of dead man’s chest.

Hondo tricks Cody into going onto shipwreck to search for key he’ll trade in return for compass. Flying Dutchman arrives and with it it’s captain, Darth Vader.

Another very rough drawing I added extremely rough shading to! Vader is combined Davy jones style with a vampire squid because 1) on brand 2) the membrane sections reminded me of the his mask. He’s wearing a bicorn hat which wouldn’t actually be the trend for another couple of decades but let’s just pretend Vader is incredibly fashion forward.

Cody is alive and so not of interest to Vader, until Hondo, who Vader has sensed and has appeared in front of on the Pearl, tells Vader that he’s a Fett and so part of his payment of 100 souls. Vader scoffs that a Fett son is payment of another’s debt and can’t be used by Hondo, but Hondo replies that Jango Fett died on land and so has no need to settle his debt anymore. Vader finally accepts when Hondo tells him Cody is in love, giving him a fortnight to find the other 99 souls.

Cody hasn’t heard this on the other ship so first he hears of it is Vader basically telling him and welcoming him as another son of Fett. Cody is confused when Vader tells him he can join his brothers on deck, figures he means crew mates, but instead comes face to face with dozens of men who look near identical to him in various states of ‘fishification’.

More rough drawings! I spent too much time on these but they’re still rough so heck it. Only did Alpha 17, Rex and Fox for these ones.

Alpha has been part of the crew for the longest time, as the first son that Jango Fett ‘paid his debt’ with. Torn between hair styles, but he’s turning into a great white shark. Alpha hasn’t known any life outside of the ship as he was barely walking when Jango took him to Vader. Jango essentially decided to settle his debt with Vader by making the souls to give himself because he’s a full out bastard. Mostly this meant one night stands and then showing up a few years down the line and promising to the mother he’d take care of the child.

Fox actually managed to live his life without Jango taking him as a child but it was still a hard life and he’s actually encountered Lord Palpatine/Sidious before. He doesn’t talk of that time but he has the brand on his neck from it (the pirate P). Either Palpatine killed him or eventually he either ran into Jango or those who knew of sons of Fett and believed that sending one to Vader would grant you favour from him/gain you a wish or something. It doesn’t, Vader just subtracts one from Fett’s debt. (Possibility of Palpatine killing Fox hoping to gain communication/favour with Vader?)

Rex is the most recent addition to the brothers in the crew aside from Cody. He’s only a couple of years younger and only a bit of fishification has started. He’s the most hopeful still of the brothers. He’s the one Cody trusts most and has as a confidant for his plan to steal the key.

Meanwhile Obi-Wan has escaped and disguised himself as a pirate. Manages to find Hondo and various Jedi. They may their way to island with the chest on it and Cody, who has managed to escape the Dutchman (name change pending) appears and fights Hondo.

Feel it would be kind of funny if Maul were to appear at this point and go all KENOBI, just to add to the chaos.

Vader is Anakin and fulfils the role of Davy Jones with Calypso being Padme (fun bit when they go to see her in her human form and they’re met by the handmaidens). Not a perfect fit as padme isn’t flighty and wild like the sea but hey ho. So Vader locked away his heart and trapped Padme in human form.

I honestly have no idea if the twins are running around somewhere or not and what they’re doing. Ashoka is definitely around somewhere as is Ezra and other rebels.

Had an idea of reincarnation or believed to be of Obi-Wan as someone Vader viewed as his in some way. Can either actually be reincarnation of just that they look similar/obi-wan is a descendant but Vader ends up obsessed with him which helps add validity when they pretend he’s Calypso/Padme.

Satine has been facing off with Palpatine and his cronies from a legal stand point but Palpatine isn’t playing fair or legal (particularly when he gets Vader’s heart (possibly delivered by Maul?)). Bo Katan would be sick to turn up and fight anyone and everyone.

Not sure if Jango is actually dead or not, but he had Boba and since he stuck around and loved his mother he thinks of him as his true child and has amazing cognitive dissonance to not be horrified and trying to rescue the others. But think he’s probably dead and boba’s running around somewhere not even aware how much danger he’s in (but possibly told by Jango not to tell people his real surname).

Oh also! Note on initial drawing - so I imagine that occurring with Mace Windu filling the role of Barbossa in the wedding scene!

Anyway hope there’s something in here that intrigues people!

#codywan #commander cody #my art #obi wan kenobi #alpha 17 #captain rex #commander fox #obi wan x cody #codywan au #star wars #star wars au #potc au #Hope I'll actually be able to find it this time in the tag!#codywan art

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soob1nn · 1 year ago

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MY FILMS - ADULT FAME DR

REMINDER! I haven’t shifted yet, so all these is just my imagination 🤍

masterlist - main masterlist

Films are a powerful medium of storytelling and artistic expression. Combining visual, auditory, and narrative elements, films captivate audiences, transporting them to diverse worlds, evoking emotions, and sparking thought. From silent classics to cutting-edge blockbusters, the world of cinema has evolved, reflecting societal changes and pushing creative boundaries. Whether it's the magic of a well-crafted screenplay, the mesmerizing performances of actors, or the technical brilliance behind the scenes, films continue to be a dynamic and influential form of entertainment and cultural expression.

PIRATES OF THE CARIBBEAN

The "Pirates of the Caribbean" saga is a cinematic adventure like no other, immersing audiences in a world of high-seas exploits, swashbuckling action, and supernatural wonders. This beloved franchise, brought to life by the charismatic Captain Jack Sparrow, has left an indelible mark on the world of cinema.

What sets the "Pirates of the Caribbean" saga apart is its perfect fusion of thrilling action and cleverly woven mythology. From the very first installment, "The Curse of the Black Pearl," to subsequent sequels, the films have taken viewers on a journey filled with cursed treasures, mythical creatures, and, of course, eccentric pirates.

At the heart of the saga is the enigmatic Captain Jack Sparrow, portrayed brilliantly by Johnny Depp. Jack's witty charm, unpredictable antics, and ever-present quest for rum have made him an iconic character in cinematic history.

The franchise's success also lies in its ability to seamlessly blend history and fantasy. The Caribbean settings, the pirate code, and the age of exploration provide a historically rich backdrop for the fantastical elements like cursed Aztec gold, undead sailors, and mermaids.

Each film in the series has introduced new characters and expanded upon the lore, creating a vast and interconnected narrative that keeps fans eagerly awaiting the next installment.

With unforgettable moments, memorable quotes, and a score that resonates long after the credits roll, the "Pirates of the Caribbean" saga has carved its place as a beloved classic. It's a thrilling voyage into the world of pirates, where legends, curses, and epic battles reign, making it a timeless adventure that continues to captivate audiences of all ages.

BEAUTY OF THE BEAST

"Beauty and the Beast," in its live-action adaptation, breathes new life into a timeless tale that has enchanted generations. This magical film takes the beloved animated classic and transforms it into a visually stunning and emotionally captivating experience.

Set in a picturesque French village, the story follows the intelligent and kind-hearted Belle, brilliantly portrayed by Emma Watson, who longs for more than the provincial life she leads. When her father becomes a prisoner in the enchanted castle of the Beast, played by Dan Stevens, Belle courageously takes his place, embarking on a journey of discovery, love, and the power of inner beauty.

With its stunning visual effects, lavish costumes, and memorable musical score, the live-action "Beauty and the Beast" faithfully pays homage to the original while adding depth to its characters and narrative. The film not only celebrates the power of love but also explores themes of tolerance, acceptance, and the beauty that lies within.

This enchanting adaptation is a cinematic masterpiece that captures the hearts of both long-time fans and new audiences, reaffirming the enduring power of this classic tale as old as time. "Beauty and the Beast" in its live-action form invites us to be their guest in a world where magic and love flourish, reminding us that beauty truly comes from within.

LITTLE WOMEN

"Little Women" stands as a cinematic jewel, capturing the timeless essence of Louisa May Alcott's literary masterpiece. This film adaptation, directed by Greta Gerwig, breathes new life into the beloved narrative of the March sisters, presenting a fresh and poignant take on sisterhood, ambition, and the pursuit of one's dreams.

Set against the backdrop of the American Civil War, "Little Women" unfolds the lives of the four March sisters—Jo, Meg, Beth, and Amy—each with distinctive personalities and aspirations. The film gracefully weaves between the past and present, allowing audiences to witness the joys and challenges of the sisters as they navigate the trials of womanhood, love, and societal expectations.

With an all-star cast featuring Winter Reed Jackman, Emma Watson, Florence Pugh, and Eliza Scanlen as the March sisters, and an exceptional performance by Timothée Chalamet as Laurie, the film brings these iconic characters to life with depth and authenticity.

Greta Gerwig's directorial prowess shines through as she infuses "Little Women" with a contemporary spirit, resonating with modern audiences while maintaining the timeless charm of the original story. The film is a celebration of the strength, resilience, and individuality of women, urging viewers to embrace their ambitions and forge their paths.

"Little Women" is a poignant and visually captivating cinematic journey that captures the spirit of sisterhood and the pursuit of one's aspirations. It invites audiences to revisit the cherished tale with fresh eyes, offering a profound and emotionally resonant experience for both new and devoted fans of this literary classic.

KNIVES OUT

"Knives Out" is a modern masterpiece in the realm of whodunits, a brilliantly crafted film that masterfully blends mystery, humor, and a star-studded ensemble cast. Directed by Rian Johnson, this murder-mystery film takes audiences on a rollercoaster ride of suspense, twists, and dark humor.

The story centers around the death of wealthy crime novelist Harlan Thrombey, portrayed by Christopher Plummer. When renowned detective Benoit Blanc, played by Daniel Craig, is enlisted to investigate, the Thrombey family becomes the focal point of scrutiny. With each member harboring secrets and motives, the plot thickens, and the suspense escalates.

"Knives Out" boasts a stellar cast including Daniel Craig, Winter Reed Jackman, Chris Evans, Jamie Lee Curtis, and more, each delivering standout performances that contribute to the film's gripping atmosphere. The narrative is cleverly layered, keeping viewers on the edge of their seats as they attempt to unravel the intricate web of deception and motive.

Beyond its gripping storyline, "Knives Out" is a sharp and satirical take on family dynamics, privilege, and the consequences of wealth. Rian Johnson's expert direction and sharp dialogue elevate the film, making it a delightful homage to classic whodunits while infusing it with a contemporary edge.

This cinematic gem not only keeps the audience guessing until the very end but also provides a fresh and entertaining perspective on the murder mystery genre. "Knives Out" is a clever and stylish film that engages the mind, tickles the funny bone, and ultimately leaves a lasting impression, establishing itself as a standout in the pantheon of modern cinema.

TOP GUN: MAVERICK

"Top Gun: Maverick" is a highly anticipated sequel that soars into the iconic world of fighter jets and high-stakes aerial combat. Directed by Joseph Kosinski and starring Tom Cruise reprising his role as Pete "Maverick" Mitchell, this film is a thrilling continuation of the 1986 classic, "Top Gun."

Set decades after the events of the original film, Captain Maverick finds himself adapting to a new era of aerial warfare dominated by drone technology. As he mentors a new generation of Top Gun graduates, the film promises heart-pounding dogfights, cutting-edge aviation sequences, and a nostalgic nod to the beloved elements that made the first film an enduring favorite.

"Top Gun: Maverick" not only reintroduces fans to the adrenaline-fueled world of fighter pilots but also introduces fresh faces played by actors like Miles Teller and Winter Reed Jackman. With its combination of high-octane action and character-driven storytelling, the film aims to capture the spirit of the original while propelling the narrative into uncharted skies.

As Maverick confronts his past and embraces the challenges of the future, the film offers a blend of nostalgia and innovation, promising an exhilarating cinematic experience for both longtime fans and a new generation of moviegoers. "Top Gun: Maverick" is poised to be a blockbuster that reignites the Maverick legend while delivering a visual spectacle that takes the iconic franchise to new heights.

THE SEVEN HUSBANDS OF EVELYN HUGO

"The Seven Husbands of Evelyn Hugo" unfolds on the silver screen as a spellbinding cinematic journey through the glitz and glamour of Hollywood's Golden Age. Adapted from Taylor Jenkins Reid's compelling novel, this film invites audiences into the captivating life story of Evelyn Hugo, a legendary film actress portrayed with brilliance and nuance.

In the film, we follow Evelyn's journey through the decades, beautifully capturing the essence of old Hollywood. The glamorous sets, meticulously crafted costumes, and evocative cinematography transport viewers to a bygone era where stars shone brightly on and off the screen.

As the narrative unfolds, the complexities of Evelyn’s seven marriages come to life, each husband portrayed by a stellar cast that adds depth to the character-driven drama. The film navigates the twists and turns of Evelyn’s life, revealing secrets, scandals, and the sacrifices made in the pursuit of fame and love.

The storytelling prowess of Taylor Jenkins Reid is masterfully translated to the screen, with Evelyn's compelling voice narrating her journey. The film seamlessly weaves together themes of identity, love, and the price of success, creating an emotional tapestry that resonates with audiences.

While exploring the intricacies of Evelyn's life, the film introduces Monique Grant, the journalist chosen by Evelyn to tell her story. Monique's personal journey becomes an integral part of the cinematic narrative, adding layers of depth and connection to the overarching tale.

"The Seven Husbands of Evelyn Hugo" on the big screen is more than a glamorous expose of Hollywood excess; it's a poignant exploration of the human experience. The film's rich storytelling, combined with outstanding performances and lush visuals, elevates it beyond a mere adaptation, making it a cinematic triumph that lingers in the hearts of viewers long after the final credits roll.

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yen-sids-tournament · 8 months ago

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Live Action 6: Pirates of the Caribbean: Dead Man's Chest v The Chronicles of Narnia: Prince Caspian

Pirates: Dead Man's Chest {original-Pirates: Curse of the Black Pearl (2003)}

Bisexual awakening

Narnia: Prince Caspian {original- the Chronicles of Narnia: the Lion, the witch, and the Wardrobe (2005)}

It adds to the firsts world building off of what was there playing with the established time difference between the two worlds

#yen sids poll #sequelmovies #disney sequels #disney #round 2 #narnia #prince caspian #pirates of the carribean #dead mans chest #elizabeth swann #will turner #captain jack sparrow #davy jones #orlando bloom #keira knightley #lucy pevensie #ben barnes #georgie henley

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scottishaccentsareawesome · 2 years ago

Conversation

Cyclone: Well, well, Pete "Maverick" Mitchell....

Maverick: CAPTAIN Mitchell, if you please, sir.

Cyclone: You're out of uniform, and [looks around] - I don't see an aircraft anywhere...?

Maverick: I'm in the market, as it were.

#incorrect quotes #top gun maverick #maverick & cyclone #original: pirates of the caribbean curse of the black pearl #COMBINING MY TWO FAVOURIT CAPTAINS BCUZ I CAN #*Grins in Fangirl*#pete mitchell #beau simpson #maverick mitchell #cyclone simpson

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brokehorrorfan · 3 months ago

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The Ring will be released on 4K Ultra HD + Blu-ray + Digital in both Steelbook and standard packaging on October 15 via Paramount. The 2002 horror film was previously only available on 4K UHD in Scream Factory's The Ring Collection.

Gore Verbinski (Pirates of the Caribbean: The Curse of the Black Pearl) directs from a script by Ehren Kruger (Scream 3), based on the 1998 Japanese film Ring. Naomi Watts, Martin Henderson, Brian Cox, David Dorfman, and Daveigh Chase star.

The Ring has been scanned in 4K scan from the original camera negative, supervised by Verbinski, with Dolby Vision. Special features are listed below, where you can also see the full Steelbook layout.

Special features:

The Origin of Terror

Cast and crew interviews

Deleted footage

Rings - 2005 short film

Theatrical trailer

The Ring begins as just another urban legend - the whispered tale of a nightmarish videotape that causes anyone who watches it to die seven days later. But when four teenagers all meet with mysterious deaths exactly one week after watching just such a tape, investigative reporter Rachel Keller (Naomi Watts) tracks down the video... and watches it. Now, the legend is coming true, the clock is ticking and Rachel has just seven days to unravel the mystery of The Ring.

Pre-order The Ring.

#the ring #the ring 2002 #naomi watts #martin henderson #brian cox #daveigh chase #steelbook #dvd #gift #gore verbinski #j horror #ringu #samara morgan #hideo nakata #sadako

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dying-suffering-french-stalkers · 5 months ago

Note

2003

As though the answer could possibly be anything but Pirates of the Caribbean: The Curse of the Black Pearl :D

That said, this was another year of unrelenting bangers: Peter Pan (a close second!), Finding Nemo, The Return of the King, Holes, Tokyo Godfathers, Master and Commander, and TV-wise the original flavor Fullmetal Alchemist.

#stardustandtwilight #asks #movie year ask game

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caripr94 · 1 year ago

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I see Indiana Jones x The Mummy crossovers, and raise you…

Hamilton x Pirates of the Caribbean Crossover

I mean, think about it. The timeline and locations actually line up more than you would think:

Shortly after his birth in 1708, Will Turner and his parents move to North Carolina, where they would live for the next 7 years, until 1715, when his father, Bootstrap Bill Turner, joins Captain Jack Sparrow on the Black Pearl and Will moves with his mother to England.

The main events of Pirates of the Caribbean: The Curse of the Black Pearl take place in 1728, when Jack Sparrow is about 38 years old and Will Turner and Elizabeth Swann are about 20.

Dead Man's Chest and At World's End happen about a year later, in 1729, including Will and Elizabeth's wedding and the conception of their son, Henry Turner, who is born about 9 months later in May(?) 1730.

Hector Barbossa is in his early 60s at the time of the events above, though probably biologically in his 50s, considering his cursed and undead status for a decade prior to COTBP.

On Stranger Tides takes place in 1750, when Jack is about 60 years old and Barbossa is in his early 80s. Dead Men Tell No Tales comes a year later in 1751, when Jack is about 61, the Turner couple are about 43, Henry is about 21, and his new love interest and Hector's daughter, Carina Smyth Barbossa, is about 19.

As the name of the film series suggests, all of the events above take place in the Caribbean, with the original trilogy centering around Port Royal, Jamaica.

Alexander Hamilton is born in 1755 or 1757 in Charlestown, in the Caribbean island of Nevis, only about 60-70 miles south of St Martin, where Henry met Jack in DMTNT. In 1757, Henry would be about 27 years old, his parents would be 49, Jack would be 67, and Carina would be 25. Henry and Carina would probably also have children around Hamilton's age group.

Hamilton moves from Nevis to the 13 American Colonies in October 1772, at the age of either 15 or 17. At this time, Henry would be about 42 years old, his parents would be 64, Jack would be 82, and Carina would be 40.

On April 19, 1775, the Battles of Lexington and Concord begin the American Revolutionary War, an 18 or 20-year-old Hamilton enlisting on the side of the Patriots soon afterwards. About a year later, on July 4, 1776, the American Colonies declare their independence from Britain, forming the United States of America. In the latter date, Henry would be about 46 years old, his parents would be 68, Jack would be 86, and Carina would be 44.

On September 3, 1783, the Treaty of Paris is signed, officially ending the Revolutionary War (which was partly fought in the Caribbean) and cementing American independence. On this day, Hamilton would be about 26 or 28 years old, Henry would be about 53, his parents would be 75, Jack would be 93 (if still alive), and Carina would be 51.

In other words, the events and locations of POTC are close enough to the Revolution that at least Jack and the Turners would have still been alive and young enough and lived and worked close enough to meet Alexander Hamilton and his peers and play an active role in aiding him and the other Patriots in the Revolutionary War, at least at the beginning. They could be doing so to help their family friend Hamilton, free Will's childhood home from oppression, and/or, at the very least, spite the British Empire for all the trouble they've caused them in the past. There's even historical basis for the Patriots (and their enemies) using privateers in the War.

That would be an interesting crossover that I'm surprised to see no one write about yet.

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#politics #pirates of the caribbean #potc #hamilton musical #alexander hamilton #jack sparrow #will turner #elizabeth swann #elizabeth schuyler #elizabeth turner #henry turner #carina smyth #carina barbossa #hector barbossa #american revolution #american revolutionary war #hamilton #turner family #please reblog

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khtrinityftw · 10 months ago

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"How does the original story connect to Disney?" is a question that has often been asked about Kingdom Hearts...and it ought to be asked more often, as the answer shows how the series lost its way.

In the first Kingdom Hearts, the original story is about the Keyblade Master trying to find his lost friends while saving the worlds of the universe from being consumed by a mass invasion of dark creatures, the Heartless, whose evil master ultimately seeks to conclude the invasion by absorbing the Heart of All Worlds assembled through each world's destruction hidden within the Realm of Darkness.

How Disney fits in is pretty obvious. Not only are the worlds in question largely Disney-based, but Donald and Goofy are the Keyblade Master's companions, Mickey Mouse is the leader of a resistance effort who operates the home base where refugees of lost worlds which includes some noteworthy Disney characters take shelter, until he can take physical form the Heartless' master's henchmen leading the invasion are a group of Disney villains that manipulates the Keyblade Master's male friend to the side of evil, and the magical beings who hold the power to unlock the way to the Heart of All Worlds are a group of Disney heroines with the Keyblade Master's female friend being among their ranks! What's more, the original iconography of hearts, keys and keyholes, "gummi" blocks, a money system called "munny", a majestic castle where villains hold maidens captive, and dark creatures with glowing yellow eyes all fit perfectly with Disney's usual sensibilities like an oversized glove.

At first glance, Chain of Memories doesn't seem like it does things as well, since beyond having Donald, Goofy, and Jiminy Cricket as companions for Sora and Mickey Mouse as companion for Riku, whom also has an important moment with Maleficent, the Disney worlds are just memory-based filler episodes in between the main plot progressing. However, said main plot is all about, yet again, a majestic castle where villains hold a maiden captive, the sort of archetypal fairy tale situation that Disney has always engaged with. Yes it's a dark and twisted take on it, but Disney also hasn't been afraid to go dark when necessary. Even the theme of memory is another fitting one for Disney, which has a hold on so many people's childhood memories. It still legitimately feels like a Disney RPG...heck, it feels like a Disney video game, a very specific one at that!

Kingdom Hearts II is about the Keyblade Master's journey continuing (and ultimately concluding) as a new group of villains conspires to destroy the universe through the spread of Heartless and acquire Kingdom Hearts, this time via the Heart of All Beings assembled through the Keyblade freeing captive hearts from the Heartless.

While this story pushes the Square Enix side more heavily, the end result is the perfect balance between it and Disney, which is still being considered. The important Disney characters from the original game remain important plus we get new important characters like Yen Sid, Pete and Scrooge McDuck, a plot point about a virtual world inside a computer at the start is echoed with the new home base world being heavily tied to the world of Disney's Tron, the main villains are spooky cursed beings exactly like the villains in the world of Disney's Pirates of the Caribbean: Curse of the Black Pearl, and above all the core threat will matter more to players who are Disney fans because it is primarily hearts of beings from the worlds of Disney that the villains are sacrificing for their evil objective. And even if you're not a Disney fan, Sora is friends with all these Disney characters, regardless of how plot-relevant they or visits to their worlds may be, which adds a highly personal stake in the story.

So the KH Trinity aces this test. Moving on to the series beyond...

358/2 Days: If the 1.5 cutscene movie having no actual cutscenes with Disney characters beyond one with Mickey that has literally nothing to do with the story and is only there as set-up for KH2 didn't clue you in, this game doesn't do too well with Disney connecting to the original story. The situations in the Disney worlds are good, bridging the gap of what went down between KH and KH2 quite nicely, but the main characters seldom get involved or interact with any of the locals. The only important thing they do is destroy Heartless to form Kingdom Hearts. It is purely thanks to KH2 and the heavy lifting it did that allows it to feel natural for this story, a direct prequel, to have Disney worlds as settings at all, since otherwise you could place the action in original worlds and nothing would feel off.

Birth by Sleep: This is a true half-and-half situation. Because on the one hand, you get Disney worlds that all connect with the KH Trinity, characters like Mickey, Yen Sid, and Maleficent all being important, the Disney Princess group of the first KH being relevant again, important plot progression happening in said Princesses' worlds, and an "old-school Disney" sort of vibe that even the main enemy creatures get in on with their rubber hose style movements. Even the original plot being a Star Wars knock-off is fitting in retrospect now that Disney owns Star Wars. But on the other hand, the original iconography that once fit Disney so well back in the first KH is now being treated so seriously and less whimsically that it feels like Square Enix is just completely taking it over, with the Keyblade concept in particular turning into something far less unique and magical than it had been before. Also, while the main characters certainly interact with the Disney worlds and characters more than the ones of Days did, it always feels like they're leaving no real lasting impact on them. Maybe that's by design since otherwise they can't be as impacted by Sora and the original elements in KH, but it still sets an uncomfortable precedent to be repeated going forward.

Coded: Give this game one thing, Disney certainly matters to its story, given that it's kind of all about goings-on at Disney Castle with Mickey, Donald, Goofy, Chip and Dale, Maleficent and Pete, and of course Jiminy Cricket and his journal. It's a shame that none of that ends up mattering since the only part of the story that's important to the series narrative happens at the end and, aside from Mickey, is all about a bunch of original characters. But hey, it's still better than....

Dream Drop Distance: You put Disney in a game that's centered around dreams, and somehow make it feel like it doesn't matter aside from Mickey and Yen Sid. Just....how? How do you do that? The visits to the five Disney-based worlds don't matter and neither Sora or Riku have any real impact on any of what transpires there, a random excursion to Disney Castle to face Maleficent and Pete goes nowhere, and the original concepts have officially gone full Square Enix to the point of no longer gelling with Disney. Time travel with complicated rules and consequences whereas before it was just a whimsical door to the black-and-white past. A villain whose master plan is so omnipotent that it renders all the heroes' past victories meaningless and leaves them with no solid way of winning in the future. Clones of characters all over the place. Inception-style dream-within-dream mind screws. The literal cast of The World Ends With You playing the literal Reaper's Game. And a light, optimistic hero dumbed down, trivialized and ultimately deemed a failure all to prop up the dark, angsty hero. Also, I guess Pokémon are a thing now.

X/UX: All the Disney stuff is fake and unimportant. With that said, the fairy tale storybook framing of the main story in the original game / "season" did give off a decent Disney vibe. A shame the second "season" totally ruined that by making it all about Keyblade wielders inside another goddamn datascape, with more fucking time travel!

0.2 Birth by Sleep - A Fragmentary Passage: Mickey and Yen Sid are important characters and we see some destroyed Disney worlds.

Kingdom Hearts III: This story is about Sora and his friends preparing to fight Xehanort and his minions at a desert wasteland, and then they do. That's it. None of the visits to Disney Worlds have anything to do with that or impact it in any way; there's not even any crisis going on in the universe motivating the visits in the first place. Mickey, Yen Sid, Donald and Goofy, Jiminy Cricket, Scrooge McDuck, Remy and Merlin all get to be important to certain degrees, and the game itself is certainly full of Disney goodness for fans...it's just a shame that the original elements feel so divorced from it now. Everything that used to fit in with Disney - Keyblades and magic Keyholes, villains in black coats and the enemy creatures under their command, Kingdom Hearts itself, etc. - have so little interaction, intersection or interest with the Disney stuff that they've taken on their own, far less interesting identity. Even the new Disney worlds feel less like new incarnations of Disney properties set in an RPG universe and more like just....well, those Disney properties.

Melody of Memory: All the Disney stuff is fake and unimportant.

Dark Road: The main character's disgust at the actions of some Disney villains is used to justify him....becoming a villain himself. Because if there's one thing Disney is known for, it's stories where villainy is totally justified if done to keep other villains in line! Wait...

Missing Link: All the Disney stuff is fake and....

Kingdom Hearts IV: FINAL FANTASY VERSUS XIII!

Sigh....Is it any wonder I'm like this?

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#Kingdom Hearts #Chain of Memories #Kingdom Hearts II #Anti-Series Beyond

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