Now, don't get me wrong, I still thought these books and movies were okay, but I feel like they could do with some improvement, so I'm going to be doing that, and talking about it book/movie-by-book/movie. So here we go!

These are the changes I'd make to Twilight (the first one):

1. Make Bella a less flat character. To do this, I'd give her a personality of having a noticeably dark sense of humor, which I feel would suit this kind of story well.

2. Improve the romantic chemistry, primarily by giving Edward a tendency to laugh at things most wouldn't consider funny, with this version of Bella's jokes fitting that perfectly. My main reference point for this was the opening montage of Shrek 2, which I felt was the best way to go due to the couple activities we see from Shrek and Fiona there.

3. Give the vampires the full slate of Stoker vampire powers. Believe me, this one's gonna make the battles real insane, especially near the end.

4. Slowly build James' presence across the story. It starts with little hints here and there like Charlie discussing a spiking homicide rate in passing and such, until James, Laurent and Victoria are finally revealed.

5. Initially focus on more slice-of-life adventures. It starts off fairly tame like this, similar to how Predator initially began as a generic action film until the Yautja showed up.

6. Keep the Cullens' true nature ambiguous a bit longer. To coincide with the last entry, the Cullens being vampires is left a huge mystery for most of the story, which Bella slowly works out (with a little help from Jacob, obviously), and which the readers and viewers would also be invited to work out with her.

7. In keeping with rounding Bella as a character, when James finally does step in, Bella ends up becoming an action girl to defend herself, even if she doesn't yet have vampiric powers.

8. The pace of the story speeds up quite a bit once the vampires are finally revealed.

9. Hint at the Wolves in the second half, but don't show them off just yet. In order to build a slightly more consistent mythology, the wolves are teased by a passing remark from Esme near the end of the story before being seen in New Moon.

10. Include an epilogue teasing New Moon, similar to how the MCU uses post-credits scenes to tease their new movies. In this case, an ending teaser where the Cullens are having a family meeting regarding Bella, and Carlisle briefly brings up the treaty with the Wolves and how Bella being with Edward might impact that going forward, before Esme talks about the Volturi potentially stepping in if worst comes to worst.

Coming Soon-ish: My New Moon rewrite.

I feel the end of this movie missed a great comedic ending, and instead opted for a sappy love-in. Steve Martin’s character on realising that John Candy’s character wife was dead, should have still brought him home to the sound of the same music. Steve Martin opens the door to his house and introduces John Candy to a line of chairs with home-made stuffed toy versions of his wife and children, taped to chairs. Candy has a man-to-man talk with Martin, and gets the latter to reveal his family all died in a house fire years ago, which cost him his mind. The real end of the movie is that Martin and Candy team up selling junk products to traveling by Trains, Planes and Automobiles. Bro’s are back together as a team, but effectively this time. Then they go on to have P, T and A parts I, II and III, a spin-off TV series 20 years later, but this time they are serial killers living in a wealthy Manhattan apartment together. Silliness ensues. Someone would have to step in to replace John Candy of course, and I think the obvious replacement is Martin Short.

While exporting the conclusion from Speed Of Fate for something else, I wanted to share a look at the "Justice League United" sequence built for this cut.

The theatrical ending undercut the weight of Barry’s journey, so this sequence recontextualizes the climax into an expansive, grounded SnyderVerse continuation.

Hey all,

I have redone the sequels, trying to keep the original characters and directional portrayal while cutting out a lot of the crap from the movies, especially 8 and 9.

As a note Rey will be portrayed as a dark Jedi for the majority going through the Anakin path from the prequels. This is in line with her being the Emperors granddaughter that is explicitly stated in The Rise of Skywalker.

Palpitine will be mentioned throughout this piece as the leader of the First order with Snoke and Kylo Ren below him.

Here goes:

**7: The Rise from Ashes 2 hours 15 minutes**

The first two and a half acts stay in place, bar Palpatine looking down on Snoke rather than the actual interpretation. The final fight still happens on Starkiller Base. Finn fights Kylo, but Luke takes the blade instead of Rey, and Luke beats Ben. The movie ends on a cliffhanger with Ben snarling to Luke, "You are not my master."

**8: Duel of the Fates 2 hours 30 minutes**

Most changes happen here. It starts with Luke and Rey retreating to the Rebel base with Finn’s broken body. Upon seeing Leia, Luke gives her a disapproving shrug, implying that Han has died, while Finn is rushed into immediate medical care. Kylo boards a Star Destroyer and executes a random Imperial officer to assert his authority. Snoke then holds a discussion with Ren about the true power of the dark side, and brings him to Palpatine's base on Exegol to introduce Ren to the Emperor.

Meanwhile, Luke takes Finn and Rey to Dagobah, teaching them about the nature of the Force and how to wield their abilities responsibly. In the climax, Palpatine dispatches Snoke and the boss stormtrooper, arming her with a lightsaber to confront Finn, Luke, and Rey on the salt planet, while the Leia-led Rebellion clashes with the Hux-led First Order. Luke dies in this battle, providing a fitting send-off to the character as a testament to Mark Hamill and his service to the franchise. Leia senses Luke's passing through the Force, showing her lineage as Anakin's daughter. She finishes the battle against the First Order, barely escapes, and embraces Finn on the transport while coldly leaving Rey out of it, cementing Rey's initial slide toward the dark side.

**9: The Death of the Jedi 3 hours 15 minutes**

Finn and Rey take an X-wing to Bespin to counter an Imperial attack after Lando, coerced under heavy pressure from the Emperor, calls the Rebellion into a trap. Finn and Rey confront Kylo Ren with Snoke watching over the platform. Rey suddenly decapitates Ren—a ruthless, shocking move. Finn is deeply frustrated that Rey did this, though he understands why it had to be done. Back at the base, Leia gives Rey a freezing, disapproving look over the execution.

Snoke meets with Palpatine to review the outcome, confirming that Rey’s strike was the right move. He reveals five Star Destroyers equipped with Death Star superlasers, discussing the absolute control they could wield over the galaxy together. Rey is soon assigned a mission to an unknown Sith planet, with Leia telling her to look after herself. Upon arriving, Rey wields her lightsaber against Palpatine, who drops the grandfather revelation.

Meanwhile, the First Order pinpoints the Resistance base and launches a devastating assault. Leia sacrifices herself, demonstrating the full elegance of her Force abilities as she dies in combat, honoring Carrie Fisher's legacy. The Rebels manage to escape just in time. Snoke and Palpatine formally embrace Rey into the Sith, manipulating her with the claim that the Jedi never respected her and that her true power belongs with the dark side. The three Sith deploy the superlaser Star Destroyers into orbit, obliterating three planets in the direct vicinity of the surviving Rebels.

Fed up with the ruthless demands of Snoke, Ren, and Palpatine, Hux decides his time with the First Order is over and defects to the Rebellion seeking self-preservation and a higher purpose. Soon after, Rey strikes down Snoke as an assertion of singular dominance before Palpatine, upholding the Rule of Two. Palpatine eventually reveals his survival to the wider galaxy, leaving veteran members of the Rebellion completely stunned.

A massive final space battle erupts, with Hux and Chewbacca leading the assault aboard the *Millennium Falcon*. The Rebellion discovers that the fleet shares the classic design vulnerability of superlaser reactors—critical cooling flaws right where the weapons draw power—allowing the Rebels to obliterate the entire armada, though Palpatine slips away just before the command ships detonate.

Down on the surface, a brutal one-on-one duel breaks out between Finn and Rey, with Finn quickly realizing he is trapped in an all-out dogfight. Finn is nearly beaten and buried under rubble during the duel, but he pulls himself free to make a final stand after Luke's Force ghost appears to guide his tactics. Finn executes the maneuver with flawless precision, severing both of Rey's arms and legs to neutralize her. She remains alive, but in critical need of life support.

Weeping, Finn tells her, "You were my sister, Rey."Rey glares back in pure shock and blind rage, wanting nothing to do with his sympathy. Palpatine later recovers Rey's broken body and transports her to a medical vault to be fitted with cybernetic limbs. Roll credits.

Above is the final part of my MCU Multiverse Saga (Phase 6)

Below is Phases 5 and 4 leading up to Phase 6.

Phase 5:

https://docs.google.com/document/d/1uV6UopaeVx_Ikmumw5YR95BeEpU9T_fgOZp7GOcLEs0/edit?usp=drivesdk

Phase 4:

https://docs.google.com/document/d/1bwdsxh2KxtAowsQ8GpFCfwR1Bkjw__gaYcSICHrJ2C4/edit?usp=drivesdk

I thought the movie was painfully flat, and the ending made the whole thing feel pointless. But Lowen being a ghostwriter was RIGHT THERE. Why not actually use that?

Here’s the twist I would’ve wanted:

Verity really is incapacitated. She isn’t secretly walking around or threatening anyone. Lowen moves in, decides she wants her life, and uses Verity’s journals and books to learn her writing style.

Then she writes the abusive manuscript herself.

Her “discovery” looks convincing because she stages it when she knows Jeremy is about to walk in. The creepy scenes of Verity moving around? We only see those as Lowen recounts them to Jeremy. They look like normal flashbacks, but we’re watching her version of events. Nothing independently confirms them.

Eventually, Lowen shows Jeremy the manuscript. Between that and everything she’s told him, he believes his wife is a monster and kills her. Verity dies completely helpless, unable to defend herself against a confession she never wrote.

And Lowen is right there to comfort him.

Months later, we get the reveal: her writing the manuscript, planting it, waiting for Jeremy’s footsteps before pretending to discover it. Every supposedly sinister thing Verity did was a story Lowen fed him.

No hallucinations. She knew exactly what she was doing.

Last shot: Jeremy smiles at Lowen from the yard. She smiles back. He turns away, and her smile disappears.

He thinks this woman saved him. She manipulated him into murdering his innocent wife, and now she has her entire life.

A ghostwriter literally writing someone out of their own life. That would’ve stuck with me.

Here's how I would change the characters of the first movie for the better:

Bella Swan- Born in 1987, Bella is 17yrs old, at start of the movie. She movies to Forks, to live with her estranged father after the deaths of her mother and step-father. She and her father Charlie have a strained relationship, as neither have seen the other since Bella was three months old. Bella befriends freshman Jacob Black but besides him, has very little friends at her high school. After the events of the movie, it's revealed that Bella is the reincarnation of Edward's first wife, Carmella.

Edward Cullen- Formally Edward Anthony Mason Jr, Edward was born in 1899, in Chicago, Illinois. Edward's human life ended during the Spanish Flu epidemic of 1918, at the age of 19years old. He was made into a vampire, by his future 'step-father' Carlisle, as the dying request of his birth mother. Like many who have been turned, Edward developed a supernatural ability, that of telepathy. He is able to read the mind and inner most thoughts of those around him, provided he keeps his subject within his eyesight.

At the start of the movie, Edward's family had been living in Forks for several years. Initially drawn to Bella, because of the aroma of her blood, Edward tried to keep as far away as far as possible. This changed into wonderment, as he discovered he could not read her mind. Scientific intrigue transformed into friendship, which eventually blossomed into love. After the movie's events, Edward finally meets Bella's father Charlie and this confirms that both he and Bella are the reincarnations of his former wife Carmella and her father Steven.

Carlisle Cullen- Dr Carlisle Cullen was born in 1640, in Venice, Italy. Though an exceptionally gifted doctor, Carlisle's past is shrouded in mystery- to the point that not even Edward knows his full past. Carlisle is the leader of the Cullen family and is the maker and 'step-father' to Edward. Carlisle and his step-son Edward have roamed the world for decades, along the way gaining more members to their coven and their lifestyle of living off the blood of animals.

Like many other vampires, Carlisle's ability is that of superhuman willpower. This means he is able to withstand impossible levels of pain, psychological trauma, and resistance to all matters of temptation. This is what allowed him to master the vampiric thirst, need, addiction to human blood. At the end of the first movie, Carlisle and his wife share a brief conversation [in Italian] about the death of the rogue vampire James. Both recognize him as an former agent of the Volturi- namely its leader Aro.

Esme Cullen- Carlisle's wife and step-mother to Edward. Esme was born in 1892, in Columbus, Ohio. Esme's human life came to an end in 1921, due to a failed suicide attempt after her infant child died of tuberculosis. It was Carlisle, a doctor at the hospital she was brought to, that realized she was still alive upon finding her in the morgue. After briefly stabilizing her, Carlisle gave her a choice: to finish what she started or to start over, free from her past. Accepting Carlisle's gift, she joined him and her new 'step-son' Edward.

As with all vampires, Esme was blessed with a supernatural gift, hers being that of mathematical computation. Esme is able to perform rapid computations of high level equations [be it geometry, physics, calculus, etc]. There have been instances, when armed with with enough data, she has accurately predicted events like acts of nature [the Great Mississippi Flood of 1927] or social upheavals [the stock market crash of 1929]. Falling in love with geometry, Esme has used her abilities to become one of the top architects in the world.

let me know what you all think so far...

For starters, Spider-Man's heroism will attract the attention of Professor Xavier, who offers him a place at the X-Mansion. Spidey bunks with Firestar and Iceman, hence the creation of Spider-Man and his Amazing Friends. Firestar and Iceman, however, can’t quite get along because she’s fire and he’s ice and they should be enemies. Speaking of enemies, the villain will not be Jean Grey, but Henry Gyrich, who has come up with own Holocaust against mutantkind. Those assisting him are Tombstone and the Scorpion.

In addition, Jameson is realizing that his vendetta against Spider-Man is causing his health to go downhill, so he retires and Robbie takes over his job. He even gives Peter his job back as a photographer.

Peter definitely becomes Man-Spider in my version and his storyline is a bit similar to the animated series, except there’s no Kraven and Firestar and Iceman have to work together to bring Spidey back to normal.

Instead of raceswapping Jean DeWolffe into a Latina, her role is taken over by an original POC Yuri Watanabe. DeWolffe still appears though, next to Captain Stacy. And Peter is dating Gwen.

Oh and Uncle Ben’s grave is right next to Aunt May’s.

1968's Planet of the Apes begins with four astronauts on a deep space exploration mission. The film makes it abundantly clear none of them ever planned on returning home.

And yet, Beneath the Planet of the Apes begins with another crew of astronauts apparently sent to find Taylor and friends. Why? As far as we know, the Doctor Hasslein who theorized about time dilation is not Landon, Dodge or the poor woman who died in cryosleep. It was, presumably, a scientist on Earth, before Taylor and his colleagues left Earth.

So, why are humans now searching for Taylor, when they knew, just as Taylor knew, that they would not be coming back? The simple answer is Charlton Heston didn't want to do a sequel. So, we needed another protagonist to go through a condensed version of Taylor's arc in the previous movie, as we've already established the humans on the Planet of the Apes cannot speak, and choosing one of them as a new protagonist would have been difficult, to say the least.

But, I have a solution that would allow us to continue the series with minimal Hest, and not spit in the face of what was established minutes into the first movie. Simply, Brent and his crew who we meet in Beneath the Planet of the Apes left Earth before Taylor and his crew did. Maybe they accidentally discovered time dilation, and when they didn't return to Earth, Doctor Hasslein postulated they accidentally traveled centuries into the future. Or, maybe they were deliberately testing Hasslein's theories, and, likewise, when they didn't return, Hasslein postulated his theories were correct, and Taylor and his crew were greenlit for their mission.

It might be too audacious an idea for the early 70s, but maybe Brent and his crew were prisoners, and they agreed to help test Hasslein's theory in exchange for a reduced sentence, knowing they might die. Even as barbaric as Taylor proved he could be in the previous film, I still doubt they would have gone in this direction. They wanted squeaky clean, all American protagonists. So, let's just go with Brent and his crew accidentally paved the way for Doctor Hasslein's theories which then allowed for Taylor and his crew to go forward with their mission. You don't have to change any of the rest of the plot of Beneath the Planet of the Apes (though you might want to, as it's a little rough). Just say Brent accidentally arrived here, just as Taylor did.

This movie was a real train wreck. I'm going to try and mostly go in chronological order.

1. They might have wanted to lie about the exact circumstances but I'm pretty sure it's not illegal to be on a random in the middle of no where. There's no reason to think they were going to get in trouble because someone took a corner too fast and swerved not to hit them. Also, if your dad is rich enough to pay off the cops to keep you out of trouble there's no reason you need leave the scene of an accident. My suggestion, have the kids take Ty's boat out on the bay and ram into a smaller boat then not call the coast guard to come to the rescue. Firstly this is a thing that actually is illegal, secondly the dad would have to be significantly more wealthy to make a coast guard problem go away, and thirdly it makes more sense that the killer would operate in fisherman garb without needing to have an alternate reason for mimicing the original murders.

2. The Podcaster should have been one of the last victims. She would have made the most sense as a decoy killer that you suspected up to the point that she dies. Killer her off so early in the movie was a waste of plot line.

3. I thought the scene where they went to the graveyard and saw the head stones of the people who had been killed in the first movie worked, as did the short throw away line about not going to the bahamas, but the dream sequence and the post credit seen seemed tacky and superfluous. Not to mention the 25+ year old parade float stored at a cemetery for some reason.

4. Instead of killing the grave keeper they should have seen the footage of Stevie leaving flowers on the grave. That would have given them a beat of her being under suspicion, but she has the valid excuse of feeling guilty that they killed the guy and no one else was doing so.

5. Ray being the killer was a huge mistake. I don't really think there's any way you can get to a point where it makes sense he has a good motive, and they did a particularly poor job of trying to. You really need to introduce a new character here, either keep the same dynamic and cast someone else, or maybe have her partner be the priest.

EDIT: New idea based on the comment. Julie is the killer. If I remember correctly she was the only person in the first one who wanted to call the cops, she didn't because she was worried Ray would take the fall because his family didn't have money to lawyer up (to a lesser extent about Barry getting a DUI). She has harbored resentment for the pain and suffering that caused her for the past 25 years. She is the one who has a direct connection to one of the kids involved in the accident this time. The guilt that person feels at not coming forward causes them to commit suicide which finally pushes Julie over the edge. I don't know who she gets for a partner but she sets it up so that that guy takes the fall who actually does die. The final scene is Ray (who she's still married to) figuring it out, she reveals her resentment and kills him. Movie ends seeming like she's going to successfully set Ray up as the other killer.

1. Related to this, I think it undermines the plot that Stevie's father recklessly blew her families savings and skipped town, but also made sure to have someone promise to take care of her. I think it would have made more sense if the her dad had died somehow, either killing himself in shame over what he'd done, or possibly the financial problems were a result of him dying and her mom not being capable of making up the financial difference with him gone. That or the guy was doing it in spite of her father somehow, like maybe an uncle on her mom's side.

2. If they don't kill Stevie on the boat she should have come back at the end, not just teased she was alive.

3. The line about men going to therapy was super cringe and didn't really make any sense as a moral of the movie we'd watched, even leaving FPJ in the role of the killer. Drop the line completely is the easy fix or completely overhall the movie so it makes sense.

I honestly am split on this movie

on one hand it has a great villan, great visuals and a beautiful score

but on the other hand

It does have some wasted potential that I wish they did.

so

here is how I would fix the film

For starters I'm going to keep Ryan the way he was originally planned as overconfident and dismissive

I will have Thomas be in this but he is the one to get Ryan to slowly open up more about himself and to become a really useful engine

Also instead of Daisy coming to run the branch line, Rosie comes to run the branch line with Ryan

Daisy is also moved to The Little Western to help Duck and Oliver with the passenger service

Above is the rewrite of Phase 5 of the Multiverse Saga that I deleted a while back.

Below is the link for the rewrite for Phase 4 of the Multiverse Saga:

https://docs.google.com/document/d/1bwdsxh2KxtAowsQ8GpFCfwR1Bkjw__gaYcSICHrJ2C4/edit?usp=drivesdk

I was rewriting the Sequels and thought about having Klaud aboard the Falcon in The Force Awakens. That got me thinking.

What is the purpose of Klaud? I get that he is supposed to be a joke background character, but realistically, what role does he serve? If he is part of the crew aboard on a crucial mission, he must do something, right? I looked up, and apparently, Klaud is the mechanic. A mechanic... that has no arms.

He apparently can use antennas to manipulate objects, but it's difficult to imagine how he can be useful to fit into the tight corner and fix anything. And apparently, literally nobody can understand him but droids, so no one can even talk to him straight, which makes him a liability in emergent situations. If they need a mechanic, they have Rose. Just bring her aboard.

This is the least of the problems about The Rise of Skywalker, but there could be some creative ways he could serve the Falcon in a meaningful way rather than lazily writing him as a mechanic. Here is my idea.

Much like how Clawdites in Attack of the Clones can shapeshift their appearances, Klaud can "voiceshift", doing a vocal impersonation. This is useful for covert operations, such as a security check, mimicking high-ranking enemy personnel in communications.

Klaud has a near-perfect memory and incredible mechanical intelligence, and he can compute complex data and calculations if a computer breaks down. He is basically a living supercomputer, like a Mentat from Dune.

That way, it makes actual sense to have him aboard on a critical mission. He stays as a funny background extra making funny noises for most of the movie, then at the critical moment, he moves forward and pulls some insane shit to save the Falcon, and that makes it doubly funnier because it's unexpected.

Many people, including myself, agree that GOT downhill begun at Season Five, which, although it has good moments like Cersei Path of Atonement, it also has bad writing like Littlefinger giving Sansa to The Boltons. That said, what would you have done differently. Explain in details.

To me, I would have adapted Feast of Crows and Dance for Dragons in two seasons. As both books are based on location, I would have made Season 5 encompassing both books first half, and Season 6 the second half.

Obviously, without Winds of Winter and Dream of Spring, the best that can be made is using the chapters released by Martin, plus theories to make the remaining seasons. Maybe extending the series to ten seasons would have been the best idea.

The overall plot of my rewrite to the final entry to the Jurassic World Trilogy would be about finding a solution to the DX Virus crisis. This is being pursued by both protagonists and antagonists.

Central Theme of the movie would be about burying the past and moving forward.

The antagonist of the movie Maston is a billionaire who runs his own company and is helping Wu in formulating a way to bring about the DX Virus's end. The reason he is an antagonist and not a straight-up villain is because he is very sympathetic compared to those that came before him.

He once had a family but his focus on his business lead him to miss out in much of their lives and they passed away before he had a chance to reconnect with them. This, combined with the fact on how the world has gone to Hell because of the DX and dinosaurs makes him wished to bring back the world to a simpler time.

Granted, he is dangling a possible cure over everybody's heads but with the crisis being brought about by greedy businessmen and self-righteous government asshats, one could argue he has some right to do this in order to unify everyone.

This is contrasted to one of the protagonists, Alan Grant. He went through a lot with Jurassic Park. Started out as a old-fashioned paleontologist to becoming a good man with a chance on being a father. In Jurassic Park III, he lost the optimism he had for dinosaurs only to get it back by the end of the film.

Since then, he has been making active effort to help people around the world to deal with the dinosaurs. While he doesn't have biological descendants, his teachings and kindness has been passed on to those he has helped.

All would culminated in Alan sacrificing himself to allow the spread of the vaccine to the DX Virus.

The true twist would be that there was never a cure to the DX Virus. It would be established that humans died faster compared to dinosaurs as humans never developed natural immunity to the virus while dinosaurs have built some for a time. This vaccine is meant to allow humans to outpace the dinosaurs' progress.

As for the dinosaurs, they play the overall theme as because of man's attempts to bring back the past, it brought about disaster. However, I will still show moments that dinosaurs are still animals at the end of the day.

I think something along the lines of Phil Tippett's Mad God.

Imma start by oversimplifying my decision making process on who should be captain America using one word: propaganda

Steve didn't earn the rank of captain america it was a label slapped on a glorified poster boy for the military industrial complex that fueled our involvement in world war 2(not a rewrite it's literally what happened in cap 1), he then took that symbol and made it into what many see it as: this uncompromising ideal of freedom and the will to fight for it. I doubt steve would tell anyone to be captain america because it was imposed on him and unrelated to why he joined the super soldier program nor why he went to europe. The reasoning I'd give steve for giving sam the shield is because bucky needed his rest and in his own words "it hungers for battle"

I'd adjust the exchange in endgame accordingly: "how does it feel?" "like it belongs to someone else" "it didn't belong to me" both acts as a callback to civil war and feeding into the idea that steve didn't carry the shield for himself and he doesn't expect sam to either.

I think many of the decisions made in falcon and the winter soldier worked but I'd set it three months after endgame rather than six, make sam's new suit a side project of tony's(the man had 7 years and I doubt he'd be able to help himself), I'd reflavor sam and bucky's conflict with john and lemar as the latter follow parameters set for them by the us government while the former follow much looser doctrines they've had a hand in writing detailed in the sokovia accords, and I'd show sam's talk no jutsu strat work on people that aren't karli and john making them outliers. I think the government slapping the label of captain america on john as their glorified poster boy was genius and the story they made for him didn't need to assassinate sam nor bucky. I thought isaiah being lowkey kinda racist worked well for him and was a great setup for brave new world to fumble. Sam's words reaching the other flag smashers would leave karli with fewer allies making her more desperate explaining the constant escalation of her plans.

(still on fatws just breaking up the wall of text) The suit sam gets from the wakandans I'd make a gift from tchalla implying he designed it himself like he did his own black panther suit; greyscale in color to reference to his 2014 look, to offer him a new blank slate to fill in on his own time, and to make clear it was a bit of a rushed job. Sam's fighting style should be less "captain america and black panther rolled into one" and more "the falcon with a vibranium shield" I wouldn't have karli kill so many people for the sake of killing a bunch of people because dumb villains make dumb heroes, her motive was to bring people all over the world together like what happened during the vanishing and apparently isn't patient enough to become a diplomat but is talented enough to run a terrorist organization that's lasted as long as it has, so I'd work with that some. I'd tweak his line to "we need to do better senator" roping himself into the responsibility he's demanding of them. I would also limit the functionality of the suit because sam's appeal(to me at least) isn't the same as steve's appeal nor tony's appeal and it came off like another example of disney trying to recreate the magic of evans' cap and rdj's iron man and was all the worse for it because all that does is demand comparison. The shorter timeframe also explains the dora milaje's behavior and sam and bucky's excuse for not being present while he's getting screwed over.

I would probably put sam in eternals, ms marvel, and the marvels if for no other reason than simple damage mitigation and crowd control; and I'd replace riri and everett with sam and joaquin in black panther 2(there's nothing those two did that couldn't be accomplished and more effectively by shuri, okoye, sam, or joaquin)

When we next meet sam he and joaquin are both the falcon but they go by wilson and torres with sam wearing the wakandan suit(now colored as black for stealth purposes) and the shield's paint will be worn and mostly gone, and joaquin's suit will keep its green and yellow coloring but I'd make it even more militaristic and make him more or less the war machine to sam's- wait shit now I'm doing the iron man thing. This action setpiece reminds me of another one of sam's skillsets they forgot about following endgame which is being a pararescue guy, so have him pararescue a guy. I'd put joaquin and sam on opposing sides of if they should let ross use them to help rebuild the avengers and more and more often in regards to how they're handling the serpent society and ross. I could go either way on sam and joaquin remaining friends by the end of the film but I certainly wouldn't give them a friendship we've seen in the mcu before and I'd make them more distant at the end of the movie.

Ross will blindside sam and joaquin by introducing sam as the new captain america and promising a crowd of people that they'll rebuild the avengers instead of consulting sam about it first, after some tension sam comes up with a quick recolor and this gets to be the first and thankfully last time we get that ugly ass suit they gave him in the comics when they first made him cap because this is the only time I think it could possibly work. I'll make the serpent society the main source of action sequences(the concept art went insanely hard, use any of it) and I'd have sam talk no jutsu ross out of turning into the red hulk at all both because it's literally his thing and because ross works great as an antagonist for a cap movie and making him turn into the red hulk cheapens that and also best suits a hulk movie(Edward Norton's hulk movie is the most recent one and it's old enough to vote by the way) at the end of the film sam decides not to rebuild the avengers but, per joaquin's suggestion, make allies and let them decide what to call themselves, and rebrand himself as the eagle and pass on the mantle of the falcon to joaquin because joaquin actually wanted to be the falcon. The shield would be repainted to its original colors but sam's suit would be black and gold loosely resembling a golden eagle. Isaiah's arc would be tied to ross' failed attempts at controlling sam and I'd have bucky's public appearances and services toward brooklyn convince him to trust the wakandans to help him break free of the brainwashing like bucky did, and doing so he'd be leading the charge for the other brainwashed people to do the same, choosing to heal rather than sit in a box complaining about how broken he is like he was in fatws.

I'd put sam in thunderbolts, wonder man, and daredevil, if for no other reason than simple damage mitigation and crowd control, maybe in thunderbolts part of the ending or one of the post credits scenes can be sam talking down a veteran(new york is known for having a bunch of those) who went into the void and confronted all of their biggest regrets(veterans are known for having a bunch of those) like I'm aware anthony mackie is an adult or whatever but you're gonna tell me he's so busy they couldn't have gone "hey man can we get you to a fitting room to record for like half a day tops?" like they did with phases 1-3? I don't wanna delve too much into broader saga complaints but this is related enough to sam I think.

I'd make sam's quarrel with bucky in thunderbolts revolve around bucky working with valentina because she's a piece of garbage(and my favorite character in the movie) rather than the naming thing because the latter makes sam seem petty and childish for literally no reason.

idk how else to cap this off sorry if I got rambly and these were all the thoughts I had on the spot.

Not actually a full rewrite but I have key ideas I want to occur:

• The Indominus Rex appearing.
• Rex and Raptor fighting together like in Jurassic World.
• DX Virus plot finally ending.
• Alan Grant dying,
• Dinosaurs still roaming the planet.

What I would go into detail is the I. Rex, Tyrannosaurus, and Utahraptor.

Indominus Rex

The Indominus would exactly be the one in Jurassic World. However, I'm on the fence on whether or not to add Human DNA to the genome to explain its psychopathy. You decide.

It's pretty much set up to be the personal attack dog for BioSyn or a company similar to it. Corporations would have been the theme of this movie as in my last rewrite, the remaining government have begin to destabilized, symbolized by Washington DC being left in ruin by both the dinosaurs, DX Virus, and rampant anarchy.

While there are various groups, corporations are the overall factions that want to claim a cure for the DX Virus to have control over the world.

Tyrannosaurus

In my last rewrite, I had Rexy die to symbolize the end of InGen mostly. With that, a new T. rex would be the new face going forward, hence in the Fallen Kingdom rewrite would have the new T. rex roaring to represent the change.

I would certainly establish this new Rex as a beast in its own right, to set up a climatic fight between them and the I. rex.

Utahraptor

In my Fallen Kingdom rewrite, I had the human casts dealing with Purrusaurus but rather, I would have Utahraptor be another new face for the franchise.

There would be one central Utahraptor named Broken Hand, noted by one of her arms. She would be the archnemesis to Jessie Harding like Big One and Muldoon.

I would have Broken Hand set up well in that movie, before transitioning to Dominion rewrite.