Welcome welcome, folks.

Here is the third and final part of my fan's revision of Man of Steel. The goal of this rewrite being an expansion aimed at three goals.

• Build on the film's positives.
• Re-insert certain segments from the screenplay/novelization which enhance the narrative.
• Adjust certain of the movie's more divisive elements.

Part 1

Part 2

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Final Battle

Okay, let's talk about one of the more contentious parts of the movie. The fight between Clark and Zod.

Before I get into said battle, let's dispel with a couple supposed "criticisms" which hold no water whatsoever, and which I won't even entertain.

• "Superman destroyed Metropolis"

No he didn't. Save for the city blocks demolished by the Black Zero and the buildings knocked down by Zod during their fight, the city was standing for miles around.

And, again, most of said destruction was committed by Zod.

Not Superman.

• "Superman didn't care about saving anybody"

Yes he did, or he wouldn't have stopped Zod's plan in the first place.

Also, it's hard to worry about everybody else when you're spending much of the fight getting your butt whooped.

Which Superman very much was.

Now, all that put aside, I will say there were a couple times the final battle didn't quite communicate Clark's state of mind and how distressed he really was the whole time by what he was seeing.

A state of mind that the screenplay and novelization did point out.

First, the setup. A piece of dialogue was cut from the movie just before Zod melts down and attacks, which I think Snyder could have done well to include.

While Cavill communicated the disappointed, disdainful attitude well enough, this was one of several times I think Man of Steel shouldn't have left the message go unspoken. As I've said before, subtext isn't enough sometimes.

Next up is a passage from the novelization, picking up shortly after Zod masters flight and takes their fight to the skies.

This could have been lifted into something as simple as a reaction shot, a moment for the narrative to breath and Cavill's acting to portray two things.

• Just how upset, afraid, and yes angry Clark is at what Zod has done.
• How the fight has spun completely out of Clark's control; he's fighting somebody just as powerful as him, but more skilled and experienced.
  • In simpler terms, the odds are absolutely against him now.

At the risk of beating a dead horse, yes Snyder's Superman does care.

Even if one thinks the film didn't communicate that clearly enough, the point stands that he did. That in mind, lifting more of Clark's perspective as the lead character might have helped, if only to avoid the kind of misunderstandings or bad faith takes like we've gotten for almost twelve years.

"If you take a life, do you know what you'll give?"

Finally, let's talk about the moment of truth. Clark killing Zod.

Would I change it?

No.

No I wouldn't. Aside from being a ballsy choice in general, it is directly aimed at three things.

• Tragically making Clark the 'Last Son of Krypton' by choice, having chosen to save his adopted world even if it means the old Krypton can't ever be reborn.
• Sets in the reality of Clark's situation, that here in the DCEU there are real consequences to fighting criminals, or superpowered aliens like him.
• A trial-by-fire aspect of the origin story which cements Clark's aversion to killing, which he keeps the rest of Snyder's story.
  • Spares the terrorists in Nairomi despite having the chance to kill them, and going out of his way to stop a drone strike which would have killed everyone involved.
  • Doesn't kill Batman during their fight despite having numerous opportunities.
  • Only resorts to lethal force against Doomsday and Steppenwolf, a mindless engine of destruction and a New God respectively.
    • And even in the latter's case it's not Clark himself who deals the deathblows.

Superman's stance on killing has never been as ironclad as, say, Batman's. But he sure as hell doesn't like it, and MOS makes that very clear.

(Also, in the comics, Superman has killed on more than one occasion, I'm just saying...)

...However, the big moment could have done with just a teensy more, well, buildup. Buildup the screenplay and novelization provide by way of the fight between Clark and Zod's fight being just a little more bloody and brutal.

In the final moments of the fight, we get treated to this display.

By the time Clark barely manages to subdue Zod, he's running on fumes. And it's taking everything he has just to keep Zod restrained.

So, if the film proper were to have included this, the audience is more clued in to the following.

• Every second Zod is free is another second he'll spend wreaking havoc.
• Clark might not get another chance to stop him, in fact if the fight continues for much longer Clark will almost surely lose.

Finally, with a bit of embellishment on my part, another visual cue to Clark's desperation and need to stop Zod once and for all could come as Zod is bearing down on the innocent bystanders with his heat vision.

Let Zod be visibly breaking free from Clark's grip. Let him come this close to turning the tables for the last time.

• Perhaps Zod is "floating" forward inch by inch, with Clark's heels digging massive cracks into the ground as he tries in vain to stop him.
• A few stray bursts of heat vision could rock the station before Zod zeroes in on the family he's trying to murder.

Film is a visual medium. So, visually communicate the meaning as much as you possibly can.

Earthborn

Finally, as the film reaches its conclusion, one more bit of back-and-forth between Clark and Martha in Smallville cements Man of Steel's throughline as an origin story.

It might be a "Superman movie". But it's not just about Superman.

It's about Clark Kent. A man who might have come from another world, but will always belong to this one. A good man who's spent his entire life using his godlike power to help others, not out of any sense of self-importance or ego stroking but because it's right.

He knows where he belongs, and it's right here. On Earth. This is his world, this is the home he's chosen. And he'll choose it every time.

Because that's who Snyder's Superman is.

A hero.

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And that's where we leave off this rewrite of Man of Steel.

Hope you liked it. For what it's worth, I'll never stop defending this movie, even when I'm aware of its shortcomings and ways it could be made even better.

See you next time with my redux of the last MCU entry before the cataclysm of Infinity War comes around.

Spider-Man: Homecoming.

Yes! My DC series lives! It took awhile to figure out a time effective format. Hope you enjoy Chapter Three.

Welcome back, folks!

Continuing from where I last left off, here's the second part of my fan's redux of Zack Snyder's Man of Steel. A little expansion in which I aim for the following.

• Build on the film's positives.
• Re-insert certain segments from the screenplay/novelization which enhance the narrative.
• Adjust certain of the movie's more divisive elements.

Part 1 for those interested.

Also, before we proceed, I thought I'd mention that I will be adding a third and final post. Said post will touch on the climax, and aftermath in Metropolis.

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Lois Lane, Dogged Reporter

A plot point I neglected to mention last time concerns one Lois Lane.

Gonna say it outright that I actually quite like the DCEU Lois. While she is more soft-spoken and less brash than previous cinematic takes, I nevertheless found a her a likable and compelling lead who in many ways improved on some of the flaws of past takes.

• She has no trouble finding out Clark Kent's secret, lending credence to her reputation as a successful investigative reporter.
• While she does have to be saved several times, she in turn helps save the day more than once in both MOS and BvS.
• As opposed to certain media leaning far too hard into the snarky and hard-edged side of Lois, to the point of being downright unlikable *cough*DCAU*cough*, Lois of the DCEU is first and foremost a kind and thoughtful woman who goes out of her way for her friends.

All in all she's a fine adaptation of the Lois we've seen since the 90s. No, she's not the "classic" Lois, but that's not what Snyder and friends were aiming for.

However... I think there is a case to be made for introducing Lois as a bit more brash and hard-edged, before she softens up and steps into Clark's corner from then on.

It's here we return to the novelization, and Lois's characterization early on. While she's not outright antagonistic, she is driven first and foremost by ambition and a hunger for a great story. We get a little more time to spend with her, and see how she operates. Both in her introduction, and when she sets off on Clark's trail.

• She talks with an incognito Clark upon arriving in the Arctic, assuming he's just some guy and displaying her devil-may-care attitude all the while.
  • Clark being disguised as an everyday worker while he himself is hunting the Kryptonian ship, just like the US government.
• Lois's perspective on this mystery man shifts bit by bit as she finds people he's helped over the years, her need to prove herself and tell a breaking story slowly giving way to understanding and compassion for him.

By the time Lois meets Clark in Smallville, and hears of his losses, she considers her past view of a subject and their "sob stories". She's guilty for having almost exposed him, and decides to bury the story altogether for the reasons was saw onscreen.

By perhaps devoting just a bit more time to this character arc, and including more of her hard-edged attitude early on, we can invest ourselves a bit more in Lois and her relationship with Clark.

Given Zack Snyder's preference for making longer films, this wouldn't be much of a problem.

General Zod

Next on the list is further plot and dialogue devoted to our film's villain.

Zod, upon his reintroduction, is quick to take control of the narrative. And in the novelization, there's a few more sequences between him, Clark, and the Jor-El hologram.

First, the meeting between Clark and Zod. The general makes an apparently genuine effort to win Clark over, first by being fully transparent with him upon welcoming him into the simulation linking their minds.

This little bit of back and forth accomplishes a few things.

• Elaborates more on the Phantom Zone lore for those unfamiliar with the comics.
• Confirms further in text, more than just subtext, that Zod and El were close once until torn apart by their failing society.
  • Something anybody in a failing authoritarian state can probably relate to.
• Is yet another example of Zod's cold, pragmatic approach to... well, everything.

Next up is Clark's rejection of Zod's plan, and both stating their case.

As well as Zod offering one last olive branch before the two are finally pitted against each other.

Again, while Zod is the villain, he's not a mustache twirling lunatic tying people to train tracks for the heck of it. This is not personal to him.

• He's a fascist, yes, a mass murderer, but he sees himself as just an instrument of a greater cause.
• While he might hate Clark's very existence as a man born outside Krypton's rigid caste structure, Zod is willing to look past that for the sake of the bigger picture.

Of course, it doesn't last. When Clark challenges him outright and thrashes him around Smallville, the gloves are truly off.

Zod's a proud man. And you wound a fascist's sense of pride, they're quick to stop with the niceties and make it personal.

This trajectory plays out much the same between Zod and Jor-El.

Yet again, we see Zod not only slipping further into fanaticism, but outright insanity.

• If he wasn't so doggedly devoted to his programmed role, he'd see the value of starting over in a new world in which he and his people are practically gods.
• Falling back into his kneejerk reaction back on Krypton, Zod is seeing Clark/Kal less as a person and more an aberration, a thing to dispose of.

In the film we got, and even more so the novelization, Zod degenerates from a ruthless soldier troubled by the extreme actions he takes to a psychopathic butcher who sees himself as the absolute arbiter of justice.

Zod's the best villain in the entire DCEU because he actually has a clear arc.

Including these bits from the book/screenplay would only enhance that. Moreover, it helps contrast him with the selfless and heroic man that is Clark, who's not exactly enthusiastic about destroying the only world he's ever known just so another society, a failed one, can get an undeserved second chance.

Now, let's get into embellishments. Stuff that wasn't in the original screenplay or film.

Brave New World

Perhaps, as a means of further exploring Zod's egomania, we dive a little more into how far he's gone in planning things out.

• A map of settlements he's planned on different parts of a terraformed "New Krypton".
• Samples of plants or various floral genetic samples meant for mass production, once the planet is terraformed.

Additionally, a couple more sequences of Zod ordering his troops around and leading by sheer force of personality wouldn't hurt.

Really sell that this guy is the "Übermensch" pitted against our heroic "Superman".

****

And that's where we leave off for now.

Let me know your thoughts on Zod, and Lois, and what I've shared. As a fan of the movie, I still think there were ways to flesh out the story and make it more in-depth and accessible.

I know some people aren't for long movies. But I grew up with the extended cuts of The Lord of the Rings.

Long movies are kind of my thing.

Anyways, expect the third and final part next weekend.

title

If you’d listen here are some of my objectives

-Keep Season 1 and 2 intact for the most part; while chagning a small thing here and there like Barry and Iris not being siblings (but still keeping Joe as a father-figure to both) and building to Killer Frost more

-Don’t change too much with The Arrowverse, makes this harder to do and more challenging, which I revel in. This will mean I have to work around Crisis (Ugh) and not bring back Snart (Also Ugh)

-Keep a lot as close to what we got as possible and recycle ideas and re-do them better -Write a better Savitar, DeVoe, and Cicada

-Do a multi-season downfall and redemption plotline with Caitlin becoming Killer Frost without them being different people

-Write stories and character journeys better and have this arc with Barry where he’ll learn to accept his destiny as The Flash

-End with “the closing of the loop” Barry and Young Eobard going back in time and Barry letting his Mom die and saving his Younger Self

-Have Young Eobard as my last villain and using a “No Original Timeline” Theory people had and show his Origin and write it well and better -

-Treat Wally with more respect while also letting him leave to go on Legends here and when he has to leave

-Use Reverse Flash well while making it so I can keep each seasonal big bad front and center

-Use one of Paradox, Colbat Blue, Deathstorm or Rajin at some point(s) and have a Comic Accurate Godspeed

-Have a Season with Grodd as a big bad -Try to reboot/redo ideas like Chester and Allegra, though I probably won’t commit to that even though I’ll try too

-Don’t destroy every character’s personality in Season 3 while keeping seriousness in it and have nuance and balance

-Do Alchemy better and do The Rouges without Snart which will be hard I'm considering though Captain Boomerang (who can easily survive Lian Yu a Boomerang always comes back) and of course Peyton List as Lisa Snart

This is what I have so far although I might have other ideas/objectives as time goes on

I believe the movie's flaws lay upon it's improbable scenario and juvenile take on how a court would handle such a case - it's as if a 9 year old decided to write courtroom drama. But I get the whole movie was absurdly uncommercial and unnapealling to the audiences, so here is what I'd do.

1- Cut all musical sequences except the dream TV show and wedding, leave that to the end.

2- Lee bribes the guards to bring him to the music therapy and bribes them again to be able to visit his cell. That would handle these plot holes. Lee confirms she is pregnant.

3- Now here we shift some of the timing. Arthur finds out about Lee later in the film and confronts her about her lies and her being manipulative, after the final testimonies. This is his dilemma close to the end of act 2. Without this the movie feels flat because there is no drama and no character arc. There is NO POINT to her lying to him and he just accepting as seen in the film.

4- The guards are afraid the bribes are going to become public, this is why they beat and rape Arthur. NOW you add the dream musical sequence as a catharsis.

5- Act 3. Arthur decides to give up and state he is not a separate person from the Joker then and there. Lee leaves the court room as seen in the film. The explosion takes place, and he finds Lee at the stairs. No changes here.

6- She confirms she is pregnant and she doesn't want to have anything to do with him. He is torn between his love and her betrayal. He goes full on Joker now, and pushes her down the steps, thus killing their unborn child (killed his mom, killed his child). He laughs maniacally. Lee is extremely hurt but alive. We sense there is still some connection between both based on insanity.

7- Joker is not recaptured, and his fate is unseen and ambiguous.

There. Made it commercial, kept some of the musical elements, and kept most of the film intact.

Hey, there!

Been a while since I've taken a crack at this. Had one heck of a busy spring, ready to enjoy the summer and get back to writing these fun pitches.

A couple years back, I pitched the ideal setting for a modern adaptation of DC Comics. A live-action shared universe on HBO Max, telling definitive stories of DC's flagship heroes with an emphasis on specific genres.

Essentially, imagine if the CWverse and other live-action TV series were to be hypothetically replaced by one unified vision, which broadcasted on one network. In this case, HBO Max.

(Which probably means imagining Max launched a few years earlier, somewhere around 2016 or 2017)

• The omnibus on said "Maxverse", for those interested.

Having dived into two of DC's iconic Trinity (Superman and Wonder Woman), it's time to round them out with the Dark Knight himself.

Batman's one heck of a juggernaut isn't he? I can't think of a medium that hasn't covered this hero. There's some definite standouts for sure, like the beloved animated series of the 90s and the masterpiece that was Christopher Nolan's trilogy.

And yet, so much of what we've gotten in live-action has just barely scratched the surface.

That's where this idea comes in. Taking the story of Batman, and adapting its sheer volume and scope on a platform big enough to cover it.

First airing in 2020, in some world other than this one, it's...

BATMAN

An HBO Max original series.

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Premise

Picture, if you will, a series which picks up well into this hypothetical "Maxverse" I've laid out the past couple of years.

Batman is a superhero family drama spanning several years, from 2014 to 2018 in-universe. It covers a veteran Batman, and his alliance of costumed heroes, as they face several terrifying threats to their home of Gotham City.

Major inspirations for this series include runs by-

• Frank Miller
• Jeph Loeb
• Judd Winick
• Scott Snyder
• Tom King

The story of this imagined reboot/adaptation isn't just about Batman and his family, it's about Gotham itself. Its history, the hidden players behind it, and how far its defenders are willing to go in order to protect it. Batman himself is tested many times on his commitment to Gotham, and how deeply he believes it even can be saved.

As with the rest of the stories in the Maxverse, this Batman series is slapped with a TV-MA rating. Given the subject matters often featured in Batman comics, this particular TV-MA would be earned and then some. No sanitizing or watering down to be found here, this show would be dark.

Covered in three seasons, the major arcs are

1: The personal journey of Bruce Wayne as Batman.

2: Batman's several proteges doing their best to live up to his example, while also making their own paths as heroes.

3: A slow uncovering of Gotham City's hidden history.

4: The looming question of what kind of life Bruce Wayne could live, without Batman.

Setting

Much like the Superman series of this universe dives into alternate history regarding its primary locale, so too does Batman.

As Metropolis in this setting was born from what was once New York City, Gotham sprang from what used to be Jersey City. The two cities sit across the bay from each other, sister cities and yet almost complete opposites.

Gotham is a city with one foot in the past, and another in the future. Visual and thematic inspirations for the setting could ideally draw from depictions both old-fashioned and modern. Gothic and futuristic. In many ways, Gotham could be as much a character as the lead cast themselves. Its mythology and mystery hangs heavy over the entire series, and the unraveling of its origins drives a considerable amount of the plot in Season 3.

Other locations of note could include

• Bludhaven, a smaller city neighboring Gotham
• 'Eth Alth'eban, lair of the feared League of Assassins

Lead Characters & Performers

Leading off the massive ensemble are the power couple that is Bruce Wayne and Selina Kyle. AKA Batman and Catwoman.

The actors I'd choose to portray them are well-known in geek circles. Whether they by Star Wars fans, or fans of various horrific works by Mike Flanagan.

As Batman is a family drama, Bruce and Selina are the resident patriarch and matriarch respectively.

Much like the character as featured in the DCEU, this Bruce Wayne has been in the game for a long time. In this case, twelve years. He's got a lot of scars to show for it, physical and mental, and while the Bat-family or his friends abroad in the Justice League keep him balanced, Bruce is starting to show the wear and tear of his long crusade.

Selina, for her part, is a woman who's long since left her life as a criminal behind. Having come from a marginalized background, she has seen both the best and worst of Gotham and its people. More than fighting criminals, her mission is helping the poor and oppressed of her city and giving them a better life than the one she was born into.

Background Story & Supporting Cast

As the series has a lot of history behind it, one could expect various tie-in materials to expand on said history.

• A film or limited series adapting Year One.
• Comics and books on the major players.

I've drafted a document detailing this abundance of lore, feel free to give it a read.

Legends of the Batman

As for the rest of the ensemble cast, I've compiled a list.

For both heroes and villains alike.

(Light spoilers by way of certain inclusions and naming, all will be elaborated on in future posts)

The Bat-Family and Allies

• (Outside of Nightwing, Oracle, Red Hood and the two present Robins, the rest of the Bat-family joins or is introduced across Seasons 1 and 2)

Enemies of Batman

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And that's what I got!

Happy to be back writing these posts.

Soon, I'm gonna finally pick back up on my revising of the MCU and other Marvel film properties. As well as my pitch/revision of Alien 3.

Hope you enjoyed this! Let me know your thoughts, and how you'd even start to tackle Batman on television.

Right, so I'm gonna get it out of the way and say I still love Zack Snyder and Christopher Nolan's Man of Steel.

Next to the first two cinematic outings by Richard Donner and headed by our golden boy Christopher Reeve, it's probably my favorite Superman film to this day. After years of Superman being brushed off as hokey or too silly to be taken seriously on film, I found it a refreshing take. A more sci-fi focused movie which took Superman to his old roots as an action hero, adapting three of the comics I enjoyed the most.

• The early modern mythos by Byrne and Jurgens
• Mark Waid's Birthright
• JMS's Earth One

I've been an ardent defender of the movie from day one, and it's disheartening to see how some people are still determined to hate it.

However, I can admit that it's not perfect. Sometimes the color palette is a bit too washed out for my liking. The pacing and non-linear storytelling got kind of jarring, sometimes not allowing the characters to breathe as they could. And the final battle did go on a little longer than I would have liked.

So, as a fan, how would I improve it?

A lot of it goes back to the screenplay, or specifically the official novelization I bought at a Barnes & Noble which was based on the screenplay. There's a good number of dialogue bits and plot threads in that book which not only give the characters and story more "meat", so to speak, but also might have pacified some of the more...

Contentious reactions.

So, allow me to lay out these plot points (with some suggestions of my own added) and review a movie I still really enjoy even now. Even while there remains room for improvement.

Also, consider this another entry in an ongoing revision of the DCEU I wrote out a couple years back. In which I tried to compromise between the original "Snyderverse" slate and the increasingly jumbled DCEU we got.

• Part 1 (Slate leading to JL2)
  • (Directors and stars)
  • The Flash
• Justice League: Knightmare
• Part 3 (Slate leading to JL3)
  • (Directors and Stars)
• Justice League: Age of Heroes

****

Krypton

Going back to as early as Krypton, there's certain beats featuring Jor-El, Dru-Zod and company which dwell longer on the gravity of what's happening to their world. And how futile Zod's attempt to "save" it really is.

First, the Council meeting interrupted by Zod's coup.

• The dialogue between Jor and Zod goes on a little longer, with Jor musing that a world in which Zod is the sole decider on who lives and dies might not be a world worth saving.
• The Councilors are shown being violently mistreated by Zod's soldiers, the Sword of Rao.

Next, Jor's escape from Zod's revolutionaries is almost thwarted before his faithful robotic assistant Kelex jumps in to help.

• The droid's sacrifices himself to buy Jor time, via a self-destruct.
• Kelex's likable and steadfast character shows in his rather short screentime.
  • Kind of brings to mind the character of Jimmy from Snyder's later movie Rebel Moon (aka the best character).

Zod's sentencing to the Phantom Zone is more an outright argument between him and the lead Councilor.

Zod's frustration with the Council is already a pretty consistent plot point across various Superman media. He, like Jor-El, recognizes the way of things just doesn't work anymore.

But this dialogue would not only add to that, it also

• Further informs Zod's considerable anger.
  • Explosive, barely-contained anger being one of the defining traits of DCEU Zod.
• Adds to Zod and friends' despair when they wake up to Krypton's ruins, knowing that to the bitter end the Council did nothing to save their people.
• Resolves Zod's determination to take charge and deliver his people, on his terms, by any means necessary.

Smallville

Now, here in the town of Smallville is where we get into some little embellishments of my own.

In the film/screenplay we got, there's this sort of unspoken subtext that Clark's superhuman nature is not only an open secret, but that the town have actively kept his secret over time. His rescue of his classmates from certain death probably played no small part.

In the aftermath of said rescue is where I'd provide some slight alteration to the divisive conversation between Jonathan and Clark. The infamous "maybe" bit.

The intention, to Snyder and friends' credit, is fair. Jonathan isn't certain and has no clear answers on how Clark should guard his secret. But a few extra words wouldn't have hurt. Hence my rewrite of the line.

"What was I supposed to do? Just let them die?"

Jonathan pauses, visibly weighing the gravity o the situation. He's practically stammering and only comes out with,

"Maybe..."

Clark shoots him a hurt look, shocked his dad would even say it. Snapping out of it, Jonathan speaks up if only to ease Clark's worry.

"Maybe not, I don't know, Clark. You did what you thought was right, and Pete and Lana are still alive for it. They'll never forget, I know that."

But this is bigger than just you, or them."

Next up, when Lois tracks Clark down to Smallville, I imagine her talk with Pete Ross also features Lana Lang.

• Aside from setting up potential reappearances in sequels, the scene shows how loyal both Pete and Lana are to keeping Clark safe from widespread scrutiny.
  • Pete is humble, showing how much he's changed, urging Lois not to do anything that might hurt Clark.
  • Lana is outright defensive of her old friend and rescuer with some implications she might still carry a torch for him.

Naturally, as in the film, by the time Lois really knows Clark, she's a little more willing to try and negotiate with him rather than just expose him outright.

All in all, the film's narrative foundation in Smallville is largely unchanged, I've just added little additions and polishing to help tell the story more directly.

Jonathan's Death

Again, a scene in which I get the intention but think the execution could do with some polishing.

Jonathan is willing to die if it means keeping his son from being exposed to the world. He's an old man, he's had his time, and if protecting Clark means he has to give his life, he'll do it.

However... being that people are still at each other's throats about this plot points 10+ years later, my opinion is that while it's a bold and creative choice, it might not have been the most prudent one.

So, what to do?

I'd keep the foundation at least.

• Clark makes it clear he's not willing to wait in Smallville anymore.
• Clark's struggle to reconcile between his alien and human heritage is getting more difficult.
• A tornado hits and Jonathan is killed.

The main difference is the exact circumstances.

• Jonathan saving the family dog coincides with helping another family, namely Lana's.
• Clark has to help open a bunker when wreckage blocks the entrance, using his super-strength to do so.
• Jonathan is hurt and left stranded, and Clark is forced to choose between helping Jonathan or getting the bunker open and saving everyone else in time before the tornado hits.
• Jonathan's raised hand and unspoken message tells his son to save the others, not him.

The scene hits the same helpless and tragic note, but with the added facet of informing some sobering truths.

• Clark, for all his power, can't save everyone.
• The point foreshadows what we see in Metropolis; several blocks getting demolished by Zod's ship and the general himself in the final battle, with Clark only barely stopping the ship and barely keeping up in the fight itself.
• Clark will, at some point, have to make a choice between lives.

Clark's withdrawing and becoming more secretive a man could perhaps be elaborated further upon via dialogue.

• While he just can't help saving people, Lois points out in the film we got, it's a sad fact that he's scared of getting attached to people, of letting them in, for fear of losing them.
• Jonathan died believing Clark was right to help others as he did, even if he feared whether the world was ready to accept him.

Clark, for his part, isn't too optimistic yet on the latter. And given Snyder's lifting of exact dialogue and visuals from 300 and Watchmen at times, perhaps such a moment from Superman: Earth One could be spoken verbatim.

Again, Snyder and friends' intention is delivered and supported by more text, and not just subtext.

****

So that's the first chunk of plot points and elaborations.

Next time, we get to Zod's invasion and the climax. Featuring dialogue and sequences from the novelization that compound to Zod's motivations, his conflict with Clark/Kal, and how inexorable his self-destruction really was.

In addition to a few more embellishments of my own.

I'll say it again, I love Man of Steel still. But we can't love something without being willing to critique and analyze both what I liked, and what I didn't.

See you next time!

I’ve always been a fan of those “one last time” type of stories where we see our heroes, retired after a long time, coming back to help those in need and to stop those who cherish chaos. We’ve seen it with Logan, we’ve seen it with Batman in TDKR and we’ve seen it with Indiana Jones in the recent Dial of Destiny film. These stories, if written well, can potentially be great character studies and examinations on why these characters resonate with audiences while also bringing satisfying (but sometimes tragic) conclusions to their arcs. The "old man" superhero trope is a very effective storytelling tool in comics and films, often robbing the hero of everything they hold dear, driving them into their lowest points and forcing them to rediscover their sense of purpose. Since loss and rebirth are quite resonant to the "old Man" trope, it can be quite challenging for DC's creative team to apply the concept to Superman. Rather than forcing the Man of Steel into the same mold as Batman or Wolverine’s “old man” stories, the best examples of the "old man hero" story beats, it is to simply examine why the world will always need Superman.

For this pitch, I took slight inspiration from “God’s End” by Gerardo Preciado, “Kingdom Come” by Mark Waid and “All-Star Superman” by Grant Morrison. Which are easily the best “last” stories of the character in my opinion (I haven’t read “Whatever happened to the man of tomorrow?”.

As a rough idea, this would be the plot: The movie revolve around a 58 year old Superman, who, after an attack on Metropolis that cost him his family and his friends. A new wave of extreme vigilantes would eventually rise up to replace our old heroes and the public would start to sympathise with the more barbaric, but far more effective, methods of the new vigilantes. Which would make Superman lose his faith on humanity and leave earth to wonder the universe. But as he ages, he is slowly dying due to his past overexposure to the Sun, as he accomplishes many heroic feats and attempts to make peace with earth and the universe before his imminent death.

The movie would just be Superman visiting different planets and civilisations, reminiscing and remembering why he is a superhero and relive his past emotions of satisfaction and happiness in seeing that he made a positive influence in the lives of many. This movie would be an exploration of how, even in their lowest points, heroes would still try their best to help others and inspire others to be better. And simultaneously, we would have a metahuman war going on that would be between an older generation of heroes that would also have a minority of the new heroes that share the ideologies of classic heroes against the majority of new heroes led by Magog. As you can see this is clearly inspired in both Kingdom Come and part of the Greek mythology that inspired that story. The new heroes would be endorsed by President Lex Luthor, who would use this generation of heroes to re-elect himself as president. Superman would find out about everything that is going back to Earth and, with all that he’s been going throughout the movie and despot being tired, would try to protect humans that are being caught in the fire between the battle of the metahumans, giving all of his strength to fight for the vulnerable. At the end of the day, Superman is not some messianic figure as Snyder envisioned him. He is a man that would do anything to help others simply because it’s in his nature, it’s what he represents. He is not only hope, he is truth, justice and a better tomorrow.

I also think this is potentially a great opportunity to bring back Ben Affleck as Batman and other of the previous DCEU characters with their respective actors while also introducing characters seen in the Kingdom Come comic books because I felt that most of the characters from the DCEU didn’t get a chance to have a proper send off. And in case you will be thinking: “But Henry Cavill is too young to play a 58 year old Superman!”and to that I say: go kick rocks! Hugh Jackman was 49 years old in 2017 and played a Logan who was physically in his 60s. Therefore I think that, with some makeup and prosthetics, they could age him down a bit (which would be done with other OG DCEU characters). Also, and this might be a hot take, I would like to recast Luthor here. He was originally played by Jesse Eisenberg, and while I don’t think he’s a terrible actor, he was horribly miscast in this role. Which is why I’d rather have either James Spader or Brian Cox for the part. I chose Spader simply because of his role as Raymond Reddington in Blacklist. He’s charming, calculating and highly dangerous, and bald!!! Just kidding, but if we are not getting more Ultron in the MCU, (despite the fact that he’ll apparently reprise his role in the upcoming Marvel Vision show) I think he’d be great at this. And as for Cox, he’s really good at playing intelligent douche bags, just watch him in X-Men 2 or in Succession and you’ll see what I mean.

Overall, I think an idea like this one is too good to ignore. And while I’m completely excited and expecting the best for James Gunn’s take on the man of steel, sometimes you just wonder what could’ve been Man of Steel 2. And with rumours that J.J. Abrams’ Bad Robot Productions reportedly negotiating with Warner Bros. about TV/Film deal extensions and with him producing the Batman: Caped Crusader animated series, we could potentially see his production company handeling some DC Elseworlds projects (although I wouldn’t really pick Abrams to direct this movie if I’m being completely honest). I feel like Joseph Kosinski or perhaps an unknown director with background in indie films would be excellent fits for a project like this.

You know how people say Superman is OP? I think it's in part because his villains are unknown, and I think that them being unknown and unpopular means they don't get used and developed, which keeps them unknown and unpopular. I think if they were done right, they'd be like Batman's villains, a dark reflection of some aspect of the hero. I think each and every one of them has an aspect of Superman that they trump him in (so that they can be obstacles) and is worthy of a solo villain movie. I also think that if they had been handled differently in the past, we'd see a very different vibe for Superman as he would be seen as someone constantly taking on the worst monsters imaginable and getting to the humanity of them using his own fantastic experiences.

Top 20 Villains and their Core Conflicts

• Lex Luthor: They pretty much always get him right. Superman's law abiding public persona and philanthropy turned up to 11, lots of money, lots of science, but no morals, so he hurts people to get more power and keep his persona. Limitless meets American Psycho
• Brainiac: Superman's alien technology learning humanity turned up to 11, but with no morals he collects and controls and conquers.  Tron meets Interstellar
• Zod: Superman's Kryptonian heritage turned up to 11, so that he is more hurt by its death and more empowered by its people (having his own squad/army), but with no morals, he can't let go and tries to restore Krypton. Similarly, each of Zod's men should have a Kryptonian power they specialize in/turned up to 11 to go with the theme. Dune meets 2012
• Mr. Mxylsptlk: Superman's sense of humor and godlikeness turned up to 11, where he actually CAN do anything, but with no morals, he ends up just playing with people like toys. Everything Everywhere All at Once meets Bruce Almighty.
• Toyman: Superman's love for and appeal to children turned up to 11, but with no morals, so he weaponizes children and toys against his enemies. Toys (1992) meets Ender's Game
• Metallo: Superman's invulnerability and Kryptonite weakness turned up to 11, but the weakness is inverted, so that he relies on it to live and will steal and kill to protect it. Robocop meets Terminator
• Bizarro: Superman's confidence and dedication to being Superman turned up to 11, but little morals, so he often puts ego above service. Us meets District 9
• Parasite: Superman's energy absorption and ability to blend in with humans turned up to 11, except with no morals, so he consumes others to do so. The Thing meets Warm Bodies
• Maxima: Superman's burden to carry his superior alien race/legacy turned up to 11, but with no morals so she's willing to kill and hurt people to get an heir.
• Lobo: Superman's masculine dominance turned up to 11, but no morals, so he's just doing whatever he likes, bastiches. Riddick meets Hellboy.
• Livewire: Superman's voice of the people and representing something turned up to 11, but no morals, so she just gets everyone mad at whoever she's mad at. The Girl with the Dragon Tattoo meets Gone Girl.
• Mongul: Superman's fighting spirit and family connections turned up to 11, but no morals so he uses his family in his gladiator arenas. Undisputed series meets Thor: Ragnarok
• Bruno Manheim/Intergang: Complex, multiple characters, but basically Superman's love for Metropolis and secret identity and alien tech usage and ability to handle petty criminals turned up to 11, but no morals, so they just kill people. American Gangster meets Dredd
• Ultra-Humanite: Sueprman's role as a sci-fi scientist turned up to 11, but with no morals, so his inventions have deadly side effects. Rampage meets Rise of the Planet of the Apes
• Doomsday: Superman's metanarrative (not in the comics, but true from the reader's perspetive) ability to always be strong enough and win with brute force turned up to 11, but evil, so he just kills the strongest person: Superman. Godzilla meets Predator
• Manchester Black: Superman's morality turned up to 11, but no morals, so he has no empathy for evildoers and criminals. Chronicle meets Reservoir Dogs
• Silver Banshee: Superman's sonic abilities and chivalry turned up to 11, but with no morals it becomes misandry, so that his role as a patriarchal figure is challenged. Underworld meets Kill Bill
• Bloodsport: Superman's commitment to duty turned up to 11, but with no morals so he takes on whoever the government/his boss points him at. John Wick meets Extraction.
• Ultraman: Superman's role as a world leader and superhero team leader turned up to 11, but no morals, so that he's a dictator and chief bully bullier over an evil regime. The One meets Watchmen
• Hank Henshaw/Cyborg Superman: Superman's mortality and immortality turned up to 11, but no morals so he... well, I don't really know what he does. Upgrade meets Westworld. This actually isn't a really strong Superman villain, imho, and arguably, he's a villain for others more than Clark. So let me replace him. I've got two options.
  • Tempus: This character was actually created for Lois and Clark, but I think fills a really important niche. This is Superman's timeless legacy and iconicness turned up to 11, but with no morals so he tries to erase Superman from the timeline, and can tie into the Legion of Superheroes really well. Edge of Tomorrow meets The Butterfly Effect
  • Atomic Skull: Superman's unpoliced powers, unaddressed emotions and rage turned up to 11, but with no morals, so he just lets it out. Sweeny Todd meets The Cro
• A Note about Darkseid: I don't think that Darkseid is a good Superman villain, because he's the big bad for the entire universe. If Superman can challenge and defeat him, it makes the rest of the heroes irrelevant on the largest scale. I'm all for Superman getting the final blow on him after the entire Justice League has taken a run at him, but if he can't fight the whole League at once on even terms, then who can, y'know? Perserve Darkseid's menace, don't let Superman solo him, ever. Think Thor and Thanos, when Thor has hax/new moves, he can get a lucky shot in, but in an even fight, Thor only lasts a minute or so against Thanos, and needs others in the fight too. Superman and Darkseid should be the same.

The Past I'd Change

If I could change the past, each Era of Superman adaptations would use and develop comics villains, building them into cultural phenomena just as each era of Batman adaptations did with is villains. In short:

• 80s/90s For the Donner/Reeve movies, keep Donner's original use of Mr. Myxlsptlk for Superman III (a MUCH better use of Ricard Pryor's talents and screen time) with that evil Superman becoming Bizarro. Then use his plans for Brainiac and Supergirl as a father-daughter combo in Superman IV instead of Nuclear Man (this idea worked great in My Adventures with Superman last year, imho). This sets a clear iconic Mt. Rushmore for the public: Lex, Brainiac, Mr. Myx and Zod.
• Mid 90s For the Adventures of Lois and Clark with Dean Can and Teri Hatcher, now instead of just Lex Luthor, you can revisit TV-ized versions of those villains, and make the comics villains they had recurring: Metallo, Toyman, Prankster, and in the case of Intergang, keep the comics names. I'd also add in Maxima as she'd be an AMAZING foil for that romance.
• Late 90s For Superman The Animated series, the only thing to complain about is the depth of the villains, especially as compared to Batman The Animated series, where every villains as multiple nuanced appearances. This is where I'd ensure the core ideas of each of the villains above are wrangled into something simple enough for children to get in 30 minutes, but deep enough to be expanded to a 2 hour movie or multiple appearances.
• 2000s for Smallville, it did a great job making one offs of a lot of villains on a TV budget, and eventually turned to comics for big bads in the style that would eventually give way to the Arrowverse.
• 2006 For Superman Returns, they used Lex Luthor, but if there were such diverse ideas to draw on from the Donnerverse, Metallo could make for a great iteration of his Kryptonite usage.
• 2013 - Man of Steel had Zod and his cronies, but at this point, they would have had group dynamics, so that could have deepened Clark's internal struggle with that heritage instead of relying on the codex macguffin to represent that connection/responsibility.
• 2016 - Batman V Superman: With Intergang already developed, using that to bring in Batman's crimefighting issues could have created a suitable antagonist through the middle of the film and more intrigue and substance to Luthor's plan.
• Late 2010s for Supergirl, this is the next level of Smallville, but with the humanity of these characters developed from the Late 90s, I think all these stories hit harder, and you can reference actual pop culture instead of just making up history for Superman that no one knows/sees/cares about, then its easier/more fun to explore Supergirl's unique take on handling them and how it differs from Superman. I think the show did pretty well exploring deeper and deeper
• Late 2010s for Krypton, honestly their use of Zod, Brainiac, Lobo and Doomsday was pretty amazing. No notes.
• Early 2020s for Superman and Lois, I think if we have a diversity of villains, we don't need to turn Morgan Edge into a Kryptonian... but hey, maybe we do, that's neither here nor there.

What to Do Going Forward?

So, even without rewriting history, Superman's villains are amazing, when done well, but arguable, not all of them have ever been done well, and certainly not multiple times. They have the dual burden of having powers and scale that are difficult to do on TV, but potential humanity that is difficult to explore in modern spectacle filmmaking.

The cool thing is, this can all be fixed in one fell swoop with a really good video game. Something that utilizes Superman and really explores the humanity and scale of these characters could all be catapulted into the public consciousness for a generation to draw on going forward. But those are just my thoughts, however extensive they may be.

What are yours? Do you see any of Superman's villains or past incarnations of them differently? Are there any you feel I've left off? Let me know.

I didn't think I'd actually be able to have the grit to start this, but here we are, a full rewritten version of CW's The Flash's Flashpoint. Normally, I won't go episode by episode, but for this, I felt I had too, given how big of a story it is, and how big The CW dropped the ball with it. There are three episodes here, each with there own titles, and own ideas, while taking what worked from Flashpoint in the show, and the comic-Flashpoint.

However, this is not a comic-accurate Flashpoint, but a fresh take, as doing so would take away focus from this series and it's lore, as well is making it more about The Arrovwerse, than The Flash, when at it's core, it's a story about selfishness, and consequences, and doing the right thing in the end.

I would implore to check out my fixes to Season 1 and 2 which I have edited a little bit, as they are universe as this fix, and my goal is to rewrite all of CW's The Flash. I added in some pictures to help you, the viewer, better visual this story, as I'm trying my best to make this so you can experience this story as if it we're a show itself.

Lastly, I'd like to credit u/Thorfan23 for the big idea behind this rewritten version of Flashpoint, which wasBarry becoming the Dictator of ARGUS, as I had thought of many choices, and that was the only one that clicked.

With all that out of the way, here's what I got for you this week.

“FLASHPOINT”

We don’t do a time jump. It will begin where we left off in Season 2. We see Barry build Thawne’s cage, and reunite with his mom and dad. We need to actually register the emotion of that moment. However, we’re not done. It is almost as if they hate their son, but are loving him because they have to. We then see a Black Car pull up to The Allen House.

We see Edward Clariss exit this car. He’ll tell him that General Ramon is prepared with  a plan to destroy The Resistance, and finish them, once and for all. Barry will be stunned, very confused, and Barry will look to his Mom, his Dad, who almost want him to go, but don’t want that at the same time. Barry, confused, goes.

In this car ride, Edward is going to ask Barry why he is not talking, why he’s not talking about how he’s going to blow him up. He is almost trying to egg Barry on; talking about how it will come a time one day where he’ll be his ultimate rival, and have his revenge. Barry doesn’t know what he’s talking about, but he is annoying, so he’ll tell him to shut up. Edward will, not wanting to do so, but in fear. 

Barry goes to The ARGUS HQ. Everyone goes on one knee, and bowing before him; he is going to tell them to get up. He’ll then go into The HQ, and we’ll see Cisco Ramon, who will tell him this; Gideon’s formulated this grand plan to annihilate The Resistance. 

Barry will be very, very, very confused, not knowing what is happening, why everyone is referring to him as Lord Savitar, raving on about how this planet's God has returned to us, and treating him like this. In a state of confusion, he’ll order all those worshiping him to leave the room, do it now. Everyone will obey, and he’ll ask Gideon what is happening. 

We get our big lore dump. 

• When Reverse Flash was taken out of the time-stream by Barry when he saved Nora, Gideon was left behind. 
• Kid Barry got Gideon. Gideon, since she’s required to obey Barry’s command, told Kid Barry all about the future. 
• Barry got Speed, and took over ARGUS, becoming a Dictator and ruling Earth 1. 
• He would persecute anybody who Gideon said was a Future Enemy of The Flash, leading to The Rebellion. 
• Barry also recruited those who Gideon would claim to be allies, like Cisco and Oliver, giving them Commanding Officer roles in his Armies. 
• Cisco is his top General, known as General Ramon.

Barry will ask Gideon if he is with Iris. Gideon will tell him he is, and she’s his wife in this timeline. Barry will then go to her house, to see her.

• Clarriss will drive, and we see how much he can annoy Barry again, and Barry has to tell him to shut up. 
• He will go to see Iris West Allen. Iris AND Joe both live in the same house, Barry lives there as well. 
• We will meet them, much like Nora and Henry, they’ll be disgusted with Barry, and pretend to love him
• However, in this reunion, unlike with Henry and Nora, Barry will notice and run away. 

Barry goes to confront Eobard. Thawne quickly figures out what is occurring. RF will then dub this timeline/reality Flashpoint, like he actually does in OG Season 3. Barry is going to talk about what is happening with The ARGUS Dictatorship.

• Eobard is going to sum it up; he could have stopped JFK from getting assassinated, or kept Hitler in Art School
• Instead, he saved his mommy, he missed her. 

• In this supreme act of selfishness, a child got an AI, and became a dictator, due to him changing history like a rank amateur. 

• He’ll wonder who’s worse, Barry, or this version of him that became a Dictator. 

RF will tell Barry that he has to let him kill Nora at that night, in 2000, again, in order to stop this. Barry’s going to tell him that he’ll find another way, and to go to hell. Eobard will tell him he is in hell, and bringing the world down with him, and he’ll ask him, now who’s the villain?

Barry is going to run back to The ARGUS HQ, and along the way, we’ll get to see how bad and oppressed the people on Flashpoint are. Barry will get to see it as well. Make it so this nobody is arrested due to being The Flash’s foe. Have it be sad, somber, bleak, as we see Barry running to The Argus HQ, which is being attacked by The Rebellion.

Meanwhile, we go back to Eobard in his Cell. We hear RF’s Theme begin to play. He’ll speak a little bit, to himself, realizing what would have happened had he killed Nora Allen. RF, knowing a version of himself would have to create The Flash, realizing that he is free, but that he has to make sure he doesn’t die with Flashpoint. 

• He’ll also talk about wanting Barry to pay for his mistake in making this brave new world. 
• This is like Wellsobard's Log Entries that he would do in Season 1. He’ll find a way to escape, using his intellect and speed.

Meanwhile, Barry is at The ARGUS HQ. He is not fighting for any side, but attempting to save lives. In this section, you would get cameos, like Oliver and Thea, working with Barry’s side. Barry reaches Ramon, his General in Flashpoint, and will tell him to stand down. He will negotiate with The Rebellion and their leader. 

• Cisco refuses, telling him to put on his Spare Suit of Amor, but Barry chokes him, and he will obey. 
• Everyone will begin to surrender on ARGUS, and Barry will be in a Cell. 
• We’ll reveal The Resistance's Leader, who is Caitlin Snow, known as Killer Frost, who was arrested due to her being The Flash’s enemy in the future. 
• Killer Frost’s Second-In-Command will be Wally West, who was The Flash’s side-kick in Flashpoint, known as Kid Flash, but he went rogue; to The Resistance, not supporting The Flash’s Dictatorship. 

We’ll finish this first part of Flashpoint with a stinger. It is The West House. Iris, alone, and happy not to be near Barry, goes to her kitchen. She’ll see Joe and begin to talk to him, as we get a sense for how horrible and hopeless their lives are. 

All of the sudden, a Red Streak of Lightning will appear. It’s Eobard, and he’s masked, vibrating with red eyes. He’ll grab Joe, as he’ll tell Iris that she's coming with him.

“AFTERSHOCKS”

We will have Caitlin and Kid Flash checking in. As per Gideon’s information that The Flash made her provide to her, Edward Clariss becomes a Speedster Villain, The Rival, during his Timeline’s near-future. 

• Due to this, he's given speedster abilities as Caitlin and Wally want him to get those abilities as he becomes a Flash villain later. 
• Clariss loves to taunt The Flash, who has been locked up for a week, as he surrendered
• General Ramon escaped, and he’s nowhere to be found. 
• Due to this, peace and surrender negotiation hasn’t begun for real yet.

Meanwhile, Reverse Flash has Henry, Joe, Nora, and Iris kidnapped. He’s having them take classes and quizzes, making sure these people know all there is about The Pre-Flashpoint Timeline, and about what Barry Allen did.

• He’ll do a Log Entry, talking about their progress, as he prepares to make his next big move. He’ll revel in Barry’s loved ones suffering for his mistakes.
• Thawne is using his experience as a Professor, in a twisted way, as a part of his plan
• The tone of “school” should be filled with dark humor, and showing RF’s insanity
• Iris, Joe, Nora, and Henry should be listening and obeying out of fear of Thawne

Caitlin and Wally are obsessed with finding General Ramon. Firestorm, who is still the merged super-form of Ronnie and Stein, and with Caitlin, is insane. Flashpoint Ronnie will not believe the world should be allowed to live if General Ramon’s still out there. 

• Barry killed his mentor, who was Harrison Wells. Caitlin, his wife, is going to counsel him not to be irrational but he believes he’s right and the only rational one. She is able to talk him down, but it’s shown to be very very hard.
• Ideally, these three plotlines should take place over this whole episode, as we see it all go down in-depth.

That’s my set-up. I’m going to bring it all together now, for an explosive finally. Cisco’s unfindable, and they give Barry a last-chance. He can’t reveal his location, he doesn’t know it, and none of The Rebellion Leadership believes this “non-sense” about Flashpoint and Ronnie goes ballistic. He’ll kill Caitlin, loving her but knowing she would talk him down, and he’ll fly away, and he’ll declare his goal to blow up the world; General Ramon being somewhere places this world as a dangerous place, and a dangerous place shouldn’t exist. 

Barry is going to tell Wally, whether they like it or not, they’ll have to work together, as they don’t want Ronnie to go nuclear, and Wally will agree, but will threaten to throw him into that Cell again, should he veer off. Throughout this episode, Wally has been coming around to Barry more than Caitlin; almost missing his Barry’s mentorship. The episode will close with a shot of Barry and Wally side-by-side, going to stop Ronnie, as Thawne is watching. 

“UNBROKEN”

We’ll open with Barry and Wally going after Ronnie. Ronnie’s in Central City’s Center, knowing this has to happen sooner or later. He’s about to take off the Splicer. Barry’s going to ask him what Stein believes. In a twist, Stein, who is broken, and lost Clarrisa, will believe that Ronnie is doing what’s right and should take this risk. 

Before Barry is able to say more, The Rival will attack him. He’ll tell him that is when he proves he is Barry’s ultimate rival, has his revenge for making him his slave and putting a bomb chip in his neck. They're going to battle. We see how The Rival is a discount Eobard, but he’s more about proving he’s faster and better. He does not hate Barry, just sees this as a nice and fun game. Barry will beat The Rival, but it’s too late.

Ronnie’s removed his Quantum Splicer, and is about to go Nuclear, Barry is going to run in, and attempt to stop him, but he is grabbed by Thawne, who will bolt away. Eobard will take him to an area that wasn’t blown up.

• Eobard will tell him that he knew that Barry wasn't as smart as his future-self, and that something bad would happen, and he has been preparing for his moment, to make The Flash suffer. 
• RF’ll tell Barry this is the “best day ever” that Eobard will savor every moment off. Oh, and Wally’s been blown up. 

He will go into a warehouse, and there’s a table. Iris, Joe, Henry, and Nora are all tied down to it. Barry will want to know what he did to them. He will him he simply forced them to take quizzes, and classes about The Pre-Flashpoint Timeline. They know everything now, and all about what Barry did to their lives. He’ll try to apologize, some understand what Barry did, some don’t understand. 

• Iris’s going to talk about how Barry forced her way into Iris’s life and now he has come at her with this. She clearly hates him. 
• Nora doesn’t know how to feel about this, but chastises Barry for risking his own heart to save her. Nora states that she would rather die than live with Flashpoint Barry being what her son becomes. 
• Joe is going to be the most enraged. He will tell him that there is no world, no Timeline where he would have ever been a father to Barry, and that Barry is a monster, who has no right to live and is incapable of love or remorse.
• Henry’s going to be ashamed. He’ll know that Barry did it not because of Nora’s death but because Zoom killed him. He’ll tell him that he’s better than this. He is better than being god when he’s not supposed to. He has to be better, not give into his rage, and he is disappointed in Barry that he did this. 
• While understanding his son’s reasoning for doing what he did, Henry has no illusion to how horrible the world is because of him. 

Barry’s going to tell them he’ll fix this. He’ll go back and make sure that he does not ever get Gideon in the first place. Thawne is going to laugh. He’ll tell Barry if you break the sound barrier, sonic boom, Barry broke the time barrier, time boom. 

• Ripples of distortion radiated out from that point of impact, shifting everything just a tiny bit, but enough, enough for events to happen slightly differently. With RF citing how Stein was willing to nuke the world, for example.

Seeking to revel more in his victory, Thawne brought dinner to celebrate, curly fries, the only good food from this time, and he’ll tell Barry has two choices, either let this hellish nightmare live on, or ask it. Ask him to kill his mother.

Barry refuses to do it, but Thawne will call him out, saying that he's only refusing to do it because he's right in front of her, and that it's embarrassing how much of a failure and a weakling he is, telling Barry that he does not deserve to be seen as a hero. He's a false hero, and it's almost like a reverse, which Thawne will laugh at, saying that he is the hero, showing Barry's true color as the villain. He'll keep rambling on and on, until Barry will attempt to run away.

Thawne will attempt to stop him, stating that a villain shouldn't be allowed to commit more evil, that a villain should never be allowed to ruin everything. Since it is a reversed situation, he makes a joke, supposing his responsibility as a hero is to not let Barry destroy the world, and Barry will say a tearful word, that he's sorry, looking at Nora and Henry, and that he loves them. He'll fight Thawne.

• This Thawne is faster than Barry, and stronger, and he has the upper hand in this fight, with Barry using every ounce of strength he has, but still not able to keep up
• Eobard will keep cracking jokes about how reversed and messed up this is, calling Barry out in the most cruel way again and again, almost losing track of himself as he rambles on and on, fueling Barry's anger, which will give Barry an edge, allowing to him pin down Thawne for a second

Thawne will tell Barry to kill him, to end it; prove he's the villain. He'll continue to ramble and egg him on, in his most excited state and having so much fun. Barry will refuse to, although he's very, very tempted, and leave Thawne there, and then he will run back in time, and tackle his past-self in The Time Stream before he can reach the house, listening to his Mother screaming as she dies, knowing that the only way to fix this is to make sure it never happened.

Barry then wakes up, he's at The West House. Joe, Wally, and Iris are there. He'll ask where everyone else is. Barry is going to be told that Cisco's with Caitlin, and she's been sick for a while, and he's trying to figure out what's going on. The rest of them go inside, and Barry has a look on his face, knowing that he made a huge, huge mistake.

**************

That's what I have for my rewrite of CW's The Flash's Flashpoint. Hope you enjoyed.

Let me know what you thought of my ideas, and this post, in the comments, and I'll see you next time for probably the first half of the rest of Season 3!

Current slate:

Superman (2025)

Supergirl: Woman of Tommorrow (2026)

Clayface (2026)

(Add movie)

Shows:

Peacemaker S2 (2025)

Lanterns (2026)

Creature Commandos S2 (202?)

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Gotham was a weird show. Essentially it was a Batman show without Batman in it. Truth be told, I lost interest halfway through the third season. However I did hear about some things that happened after that point and wanted to suggest a change to one of those things that I would have preferred.

So Season 1 introduced the character Jerome Valeska, who is very heavily implied to eventually become The Joker. However later on it’s revealed he has a twin brother, Jeremiah Valeska. It’s Jeremiah who eventually becomes The Joker.

I think Jeremiah should instead have been named Jeremy.

The reason I believe this is that Jerome and Jeremy are almost anagrams of each other, only differing by o and y. It kind of on theme with the whole twin thing.

This could very well be the dumbest thing you’ve ever heard. I notice little things like this that will enhance or detract from my enjoyment.

Hey how have you all been? Hope you‘re good and ready to hear about the updates me and my writer’s room: (u/Flashy_Abies , u/New_Faithlessness980, u/ItalianVick, and u/DeppStepp) we got some game-changing plans in mind.

First is the SLATE, as of now we got some greenlight projects and I’m revealing who in my writer’s room is writing it and who are the potential directors they see to make this project.

The greenlight projects are the following:

- We have first got a Blue and Gold animated series of four season and 13 episodes for each season, written by u/ItalianVick.

The cast is:

Jason Sudeikis as Ted Kord

Billy Magnussen as Michael Jai Carter

Rohan Campbell as Killer Moth

Charles Parnell as Martian Manhunter

Jamie Costa as Rip Hunter

Channing Tatum as Guy Gardener

Phil LaMarr as Detective Chimp

Walton Goggins as Jonah Hex

Penn Badgley as Mr. Miracle

Timothy Olyphant as Deathtroke

Adam Scott as Maxwell Lord

- We then have a Batman and Robin duo movie called “Batman and Robin: The Dynamic Duo” written by u/Flashy_Abies, it’s a live-action film directed by Chad Stahelski. The cast is:

- Jensen Ackles as Batman

- Tanner Buchanan as Jason Todd

- Maya Hawke as Batgirl

- Ethan Hawke as James Gordon

- Jack Rylance as Alfred

- David Howard Thorton as Joker

- Samara Weaving as Harley Quinn

- Neil Patrick Harris as Riddler

- Jenna Dewan as Catwoman

- Riley Keough or Isla Fisher as Poison Ivy

I can’t give too much of a plot but you’re really gonna LOVE this movie and it really hits home to the Batman fans.

- Next is a Green Lantern Corps that I am writing, it’s a live-action series, four seasons, 8 episodes of each season, I am planning multiple seasons based on multiple Green Lanterns. The writing and the plot is on the way for Green Lantern Corps.

- After that we got a live-action series on the Question based and inspired by the Zen and Violence series that I am writing, as of right now I am planning two seasons with 8 or 9 episodes for each season.

- The next project is a New Gods movie called “The Fourth World” an epic live-action film written by u/New_Faithlessness980 and directed by George Miller.

- The last greenlight project is Superman: Symbol of Hope also written by u/Flashy_Abies an epic and wonderful live-action film directed by Brad Bird, it’s a love letter to Superman fans.

We got already most of the cast:

- Jared Padalecki as Superman

- Felicity Jones as Lois Lane

- Israel Brossad as Jimmy Olsen

- Gustaf Skarsgard as Lex Luthor

- Dermot Mulroy as Perry White

- Kate Mckinnon as Cat Grant

- Lenny James as Ron Troupe

- Dan Stevens as Steve Lombard

- Charles Parnell as Martian Manhunter

- Bruce Greenwood as Pa Kent

- Annette Benning as Ma Kent

- Nicholas Cage as Jor-El

- Jennifer Connelly as Lara Lor Van

So that’s it about the greenlight projects.

Next are the in-development projects:

- A Batman Christmas special short animation.

- A Wonder Woman movie called for now “The Legend of Wonder Woman”.

- And ”The Flash: Fastest Man Alive”.

After that is the only for now DC MULTIVERSE project called “Freedom Fighters” that I am writing, it’s an animated movie and it’s really cool too.

We also got one project that has been delayed/cancelled is a Flashpoint movie.

So, with all of that, that is the first update for the slate, the cast has been revealed. Im gonna post next Friday a post about the completed logline and synopsis (not plot) of each project that has been greenlight and updates on other projects.

Last thing I can give you is that:

Looking forward to seeing your reactions, comments, tips and even criticism and as always, I’m open to more writers coming to help me and my friends!

Have a nice day! u/Unique_Weather8465.

So, let’s say WB didn’t put their bullshit restrictions on TV Batman and CW was actually allowed to put the Caped Crusader in the show. What season would you put him in and how would you write him?

(Adam Knight doesn’t count, since it’s already been debunked by Gough and Millar that he was never intended to be Batman)

(I’m also aware that Smallville was originally a Batman origin show before being reworked into a Superman one)

The main problem with James Gunn's movies as a whole is that to him making the movies a comedy with his own original characters is more important than actually following the comic book storyline. Characters resembling no qualities with their original counterpart, so here's how I would change the movie without making too many changes to the overall plot.

• Keep the Corto Maltese conflict, but make it like the comic books: An open war with the US on one side and (since the USSR no longer exists) Markovia, introducing the country.
• Remove the decoy team and reduce it to only the major characters. Do not kill Boomerang, and bring back Deadshot without removing Bloodsport.
• Basic plot is that the war with Markovia is being taken over by an unknown army attacking both sides. Squad has to find out who the unknown enemy is and take it down.
• Starro is introduced much earlier as being the one behind the unknown army. Using his facehuggers to control everything to join its army.
• Squad fights Starro's forces and King Shark discovers he cannot be used by Starro. He makes a run for it to join forces with him, but his bomb explodes.
• Markovia sends a nuke and Starro stops it from hitting land, but it explodes above the island, causing an EMP that disrupts all coms.
• Deadshot, Polka Dot Man, Ratcatcher and Boomerang try to escape and leave the squad. Fight scene ensues between them and the squad members that remain.
• Flagg stops the fight when he tells the team that since they're now off the grid, the US will launch nuke to destroy Corto Maltese and not risk things.
• Starro takes control of most of the island's forces and is preparing to launch a massive attack to the continent.
• The squad finds the Thinker, who worked for Markovia and tells them that Starro's vulnerable to extreme cold, but the unfinished bomb he was making is on a captured base.
• Harley and Polka Dot man infiltrate Markovia's base and recover Thinkers weapon.
• Peacemaker, Deadshot and Bloodsport get sent to exterminate Starro's forces and get killed in the process.
• Ratcatcher Thinker and Captain Boomerang infiltrate Starro's lair and arm the bomb, but Thinker gets killed and Boomerang with Ratcatcher get turned into Starro's minions.
• The remaining members battle their way to an airbase to escape, killing Ratcatcher and Boomerang. The only surviving members being Flagg, Polka Dot Man and Harley.
• Ice bomb explodes, Starro gets defeated and the team successfully escapes.
• Copy the ending of Shin Godzilla but with Starro and his spores.

And since these movies need to set up future movies

• King Shark survived the explosion to his head and on the island and escapes via sea, meeting Black Manta.
• Optional: After Flagg reports to Waller she informs that a nuke was launched. Flagg warns that it could melt the ice and revive Starro and his army. Superman flies to stop the bomb and prevents it from detonating on land.

Starro is such a scary and incredible villain. A conqueror. Reducing him into a tragic setpiece is an insult.

Same thing with King Shark, being a major nemesis for Aquaman and now being turned into a silly dumb CGI mascot.

Make the characters more like the comics instead of dumb characters that exist only to make jokes. By retaining the proper conflict on Corto Maltese we are keeping it like how it was on The Dark Knight Returns, including the retaliatory nuke, if it was asked for, having Superman involved and stopping another nuke would've been another element from the comics, and we also introduce now another nation from DC Comics.

Increase the violence, make the movie center 100% around the Squad and the mission, remove the 9gag tier humor and we have a proper Suicide Squad movie.

I never knew we could also post Saturday and Sunday so I’ve decided that I would be doing that.

I already got some updates for you after yesterday’s post. Tonight/or today depends where you live, we are talking about Green Lantern Corps’ cast, a new project that I will announce and some of the suits and inspirations for each project as well as some images that will show what the universe will look like AND our plan (Chapters, Crossovers, Events…)

For Green Lantern Corps, here is the cast:

- Hayden Christensen as Hal Jordan

- Trevante Rhoades as John Stewart

- Channing Tatum as Guy Gardener

- Eiza Gonzalez as Jessica Cruz

- Justin H. Min as Kyle Rayner

- Jim Parsons as Tomar Re

- Kevin Micheal Richardson as Kilowog

- Stephen Merchant as Salaak

- Elodie Yong as Katma Tui

- Luke Evans as Sinestro

- Elle Fanning as Arisia Rrab

- Anthony Hopkins as Ganthet

- Glenn Close as Sayd

- Jennifer Saunders as Scar

- Mark Hamill as Krona

- Ian Mckellen as Appa Ali Apsa

- Keith David as Herapu Hando Hu

The inspiration is based off the TRUE DETECTIVE series and the Green Lantern Corps run itself.

So about the NEW PROJECT.

It is written by u/kiko4kt a wonderful Redditor who joined this writer’s room, and it is an AQUAMAN project.

The first actor we got is Alan Ritchson.

Actually, this is a very hot new project so the inspirations, cast etc… will come later.

Setting for ATLANTIS.

About the Batman and Robin setting, here’s what it would look like:

And Superman: Symbol of Hope setting.

About OUR plan. This universe will have a lot of Chapters. Four projects release every year, with Batman and Robin, Superman, Green Lantern Corps and the Question being eyed to release in 2025.

A crossover event (like World‘s Finest, oops I maybe spoiled a project) that happens in the mid or near end of this universe. There is no BIG ultimate-like-Thanos threat in this universe. Stories actually make an arc for a villain but he‘s truly the villain of a big movie apart from the JL movies. Imagine for example we introduce Lex Luthor in Superman and see him again in the Question for example. We create an arc for him that sets up a whole story.

Events will happen a lot of time. This universe is free and we will try to adapt the most events possible. It’s like the Multiverse, a multitude of stories to tell.

So, hoping your day is good, I will ALSO post tomorrow because I’m try Harding lol and I love to send posts and updates about this universe.

Great Saturday u/Unique_Weather8465.

I want you guys to pitch a rewrite of The Flash movie 2023 to adapt the flashpoint comic better. Recasr Ezra Miller. Also have the movie do what it was supposed to do and reboot the DCEU into a new universe the New DCU by James Gunn. Also have a better villain, like Reverse Flash the actual villain of the flashpoint comic, Or Godspeed or heck Red Death. Or have him make a and you could save Reverse Flash for a sequel.

I have a lot of ideas, but there all getting jumbled up.

I can't get this wrong though it's one of the things that show messed up heavily and I want ideas for how to do it, and her wedge with Barry has to be real, and something that you can debate is his fault, and not her fault, a moral dilemma if you will.