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I rather have them become the unofficial Adult cartoon channel than the Reality TV channel.
Me too, they can even run anime that's too mature for Nickelodeon and Neptune.

I could see the likes of Neon Genesis Evangelion, Tenchi Muyo and Gurren Lagaan fitting in very well on MTV.

And maybe some more experimental comedy and some experimental music like what Adult Swim is known for using(i.e. hip-hop from the likes of MF DOOM, J Dilla, Psyche Origami and Madlib, drum n bass from the likes of London Elektricity, Concord Dawn, Amon Tobin and Goldie as well as other types of music from the likes of Tycho, Bonobo, Gold Panda and Com Truise).

Basically, make it a more experimental channel, maybe keep a VERY SMALL about of reality shows on the network, but don't let it take over the channel....
 
Thanks, all, for the kind words. And thanks once again to those who came up with the American Werewolf in America idea. That was incredibly fun to write.

Oh and WRT the Dragonball Z convo, remember that we have a speculations thread where you can take that.

Nevermind I'm glad they tossed him now, seriously why make a WW about Steve Trevor and why objectify Diana too?
Good question. Note that I based his script on the one he wrote OTL that has received a lot of complaints, particularly in feminist circles.


Great casting, wondering if Brad and Angelina are going to hit it off on set like they did in OTL.
I figure they might. I had no plans to go all paparazzi about it, but if someone wants to go there go for it.

Out of curiosity, here is my attempt at seeing what Catherine Zeta-Jones looks like as Wonder Woman:

2-B95-DEFD-8-EFD-47-A4-92-AB-6-CA1-CC47-BDF2.jpg

For the suit, I’m using the 2008 Fan Art Exibit suit design as a base body, since unless I’m mistaken, that is I believe essentially based off of the design concept art or notes left behind for what was going to be Joss Weadon’s OTL canceled Wonder Woman movie, meaning it’s probably most accurate to what the suit design would have been under Joss Weadon in OTL (it’s also what inspired the later OTL Gal Gadot design).

Now, while Weadon still doesn’t end up making WW ITTL, it seems likely that he would have already gotten far along into concept art for WW’s outfit, and I don’t see why Kathryn Bigelow wouldn’t have gone forward with it, so I imagine it wouldn’t change under her.
Thanks, NM3k, cool stuff.

Sneaky Joss, sneaky.
I wonder if he made it an empowering tale about fighting the patriarchy or whatever or if it's more of a fetishising "big strong women beating up dudes" kinda story.
With Joss the typical answer there would be "yes".

"TTotM" is meant as a dark comedy, basically making lycanthropy a metaphor for mensuration. Your mileage may vary on whether it's "empowering" or "exploitive".

Also Seth Green as the son? Brilliant even if I expect that there are going to be endless Spider-Man jokes. Like Spideys dad got bitten by a non radioactive wolf!
Well, not endless, but certainly a couple of references.

A suspect that a Diskman is TTLs successor to the Walkman but with CDs?
OTLs as well.


No Devin that's not a good thing to say!
Joss did you sneak that in?
"Wise ass" is common US slang (along with smart ass) for a very sarcastic person. Nothing sexual intended here.

I can see both sides of this. Honestly, what concerns me more is the idea that Amazonian values are Wrong, and Diana has to go to Man's World to learn better, regardless of what those values are. Although I suppose that the more right her Amazon upbringing is, the harder (but not impossible) it is for her to have any kind of character arc.
Neither world is shown to be very good and both have their issues. Diana experiences sexism an harassment in "man's world", and note that there's lots of crime and poverty and other issues that Themiscyra lacks (no one is homeless on Themiscyra, but duty to the state and tradition stifle individual freedoms). Diana doesn't "learn compassion from the men", but learns to accept her own repressed compassion that she was denied in the Spartan world of her kingdom. She also ultimately teaches compassion and empathy and community back to the rude and selfish world of Gateway City. Hard to add such nuance to a one-paragraph synopsis, though.
 
Movies 1995 (part a)
New York Times Short Movie Reviews, 1995

A Sweet Adaption of a Children’s Classic


Charlotte’s Web is one of those classic children’s novels that’s truly timeless, and Fox Films, partnering with the Disney Creatureworks, brings us a sweet live-action adaption featuring some of the most stunningly lifelike animal effects yet seen (I found myself straining to figure out when Wilbur transitioned from living pig to animatronic!). Starring Ashley Johnson as Fern Arable and featuring the voices of Whoopie Goldberg as Charlotte and Macaulay Culkin as Wilber the pig, the adaptation is a sweet and heartwarming and occasionally bittersweet tale of a young pig who befriends a spider in a way that changes both of their lives[1].

220px-Charlotte%27s_Web_2006.jpg


Charlotte’s Web, Rated G, ⭐⭐⭐½



Austen for the X Generation

Fox and Mirage Entertainment bring Jane Austen to 1990s audiences with this faithful adaption of the classic novel Sense & Sensibility. Produced by Lindsay Doran and written by and starring Emma Thompsen, with supporting roles by Kate Winslet, Hugh Grant, and Alan Rickman, this sentimental comedy of manners hides a dark and biting satirical edge brought to it by director Lizzie Borden[2]. Though the film stays true to the source material, Borden can’t help but slip in subtle commentary on sexual norms, gender relations, and the socially-imposed standards of beauty, behavior, and class that is sure to appeal to the “Grrl Power” generation.

220px-Sense_and_sensibility.jpg


Sense and Sensibility, Rated PG for adult situations, ⭐⭐⭐⭐



Tradition vs. Modernity

Taiwanese director Ang Lee made a splash with his “Father Knows Best” film trilogy of family comedies. And now he takes his sympathetic eye to the Chinese mainland in this first big Shanghai-Hong Kong film collaboration for Smiling Dragon Pictures[3], Waking Up. This film follows the Lo family of Shanghai, who is struggling to adapt to the changing world around them, a change made all the more surreal when their father Zhong, a survivor of the Cultural Revolution, emerges from a coma after ten years. As Zhong’s family try to catch their father up to the massive cultural and technological disruptions that affect their world, Lee subtly shows us a moment in time as China, personified by Zhong, adapts to the many changes around it. Rumors persist of challenging production beset by government interference as Lee pushed the bounds of Chinese state censorship, with rumors that the Chinese Cut is 23 minutes shorter than the International Cut. Whatever the case, Waking Up is a dynamic and meaningful film, and a heartfelt exploration of what it means to “wake up” in a new world.

Waking Up, Rated T for adult themes, adult situations, and profanity; ⭐⭐⭐½



A Classic sees the Light of Day

After years of false starts, John Kennedy Toole’s Pulitzer-winning picaresque A Confederacy of Dunces comes to the big screen courtesy of producer/director Harold Ramis. And with the great John Goodman as its star, the irascible and endearingly unlikeable Ignatius J. Reilly, the film manages to capture the manic feel of the novel and bring to life its set pieces, and yet, as is often the case when adapting a novel as eclectic as Confederacy, the magic is lost somewhere along the way. Goodman does excellent work in bringing Ignatius to life, capturing the look and feel of the character to an almost uncanny degree. The direction and cinematography are great. The dialog is right out of the book. And yet that je ne sais Quoi is not there. Still, even a flawed adaption of a master work is worth your time, and high marks to Columbia for being willing to take a gamble on a book many feared was “cursed” and a film adaption “unmakeable”. Suffice it to say that while a film version of Confederacy was likely doomed to disappoint, the film itself is still enjoyable for reasons of its own[4].

Confederacy_of_dunces_cover.jpg


A Confederacy of Dunces, Rated T for adult language, adult situations, and mild comedic violence; ⭐⭐⭐



A Modern-Day Bonnie and Clyde

Bloody brilliant director Quentin Tarantino returns as writer/producer/director for Orion’s Natural Born Killers, another gruesomely violent yet brilliant non-linear tale of violence, agency, fame, and criminality in a film that’s, apparently, the story Christian Slater’s character was working on in Tarantino’s last outing, True Romance. Will every Tarantino film be so linked? The story follows Woody Harrelson’s Mickey Knox and Uma Thurman’s Mallory Knox as they decide to go on a crime spree, Bonnie and Clyde style. With Tarantino’s now recognizable non-linear style and intimate relationship with crime, violence, and personal psychosis all played with a level of common banality, the results are an understatedly brilliant satire on violence in American culture and the role of the media in glorifying it.

Natural_Born_Killers.jpg


Natural Born Killers, Rated R for graphic violence, adult language, and adult situations, ⭐⭐⭐



A Dark Conspiracy

Fantasia’s The X-Files got us all believing in dark “men in black” who suppress knowledge about aliens by any means necessary. But what about the world from the perspective of the men in black? Director Richard Donner adapts this X-Files-like Dark Horse[5] comic for Orion into a tale that follows two “MiB” agents as they hunt down and “neutralize” any civilian who has learned too much about the alien conspiracy. It’s a job that they justify as doing for “the greater good” for the protection of the populace as a whole. But when new Agent Ecks (Hallie Berry) learns that her partners and mentors Jay (Robert Patrick) and Kay (Wilhelm von Homburg) are secretly working on a dark and self-serving mission of their own, she sets out to do what’s right in this twisting narrative that’s one-part conspiracy thriller and one-part spy caper[6]. While not the most standout thriller, it’s none the less a good tale of conspiracy and intrigue and how one defines “good”.

220px-Men_in_Black_Poster.jpg

Not this; more like The X-Files meets Mission Impossible with a twist of Donner’s Conspiracy Theory

Men in Black, Rated T for violence, profanity, substance use, and adult situations; ⭐⭐½



He is the Law

Adapting the dark post-apocalyptic story of the self-declared “Judge, Jury, and Executioner” Judge Dredd (played by Dolph Lungren), this violent sci-fi action film directed by Paul Verhoeven reminds one of what Robocop might have been if it took itself seriously. In the post-apocalyptic far future, the world has crowded into “Mega cities” where crime is so rampant that the “Judges” are appointed to singlehandedly met out “justice” at the barrel of a gun. Violent, dark, and gothic, this Mad Max like tale explores the very notions of justice and law and order, taking some time to consider the morality behind the concept, and Verhoeven even takes the time to use the film as a way of addressing our modern questions about profiling, police brutality, and the alarming rate of young black men who die at police hands. What could have been another empty summer action film is thus elevated into a platform that asks serious questions, though you can’t be blamed for not noticing in the face of all of the over-the-top gory action[7]. This is an easy story to overlook, but take some time to dig deeper, and you’ll find that this is more than just another summer splatter-fest.

220px-Judge_Dredd_promo_poster.jpg


Judge Dredd, Rated R for graphic violence, profanity, substance use, criminal activity, and adult situations, ⭐⭐⭐½



Batman Battles Everyone

Just as too many cooks spoil the broth, so do too many villains spoil an otherwise enjoyable popcorn film in this summer’s Batman: The Penguin’s Gambit. Taking over from the events of the prior film trilogy by Sam Raimi, this fourth outing by director Luc Besson slightly scales back the darkness in favor of more traditional action tropes. Bruce Willis gives Batman/Bruce a more blue-collar vibe, which works for this film when placed against the aristocratic Penguin (Danny DeVito), but clashes with Bruce’s backstory as a child of wealth. And had the plot focused on this dynamic, as producer John McTiernan reportedly wanted, it would likely have worked well. But rumors abound that the studio, still thinking in terms of merchandise (the same reason Raimi allegedly left), reportedly shoehorned in Poison Ivy (Rose McGowan) and Bane (Brian Thompson of He Man fame) as well, along with Julia Roberts returning as the wheelchair bound Oracle and a brief appearance by Uma Thurmond’s Catwoman. These added characters force the creation of a complex plot surrounding Bane and Ivy’s “Venom” and a new ersatz Robin, Christian Bale’s Jean Veilleux, who briefly takes over as the Batman after events that every comics geek knows, but which I will not spoil here. Whatever the case, while the top-heavy addition of heroes and villains will probably sell a lot of toys and Happy Meals, it dilutes what might have at least been a fun summer action film. Besson and McTiernan, for their part, have reportedly already turned down Batman 5.

Batman_%26_Robin_poster.jpg


Batman: The Penguin’s Gambit, Rated T for violence, adult language, and adult situations; ⭐⭐½



The Naked Truth

Ethan and Joel Coen are no stranger to the bizarre world of crime and quirky characters, so having them produce the works of equally quirky Florida crime novelist Carl Hiaasen is a natural. Following on from their earlier success with Hiaasen’s Tourist Season, the Coens produced Striptease for Hyperion, directed by Ted Raimi. It features Jennifer Jason Leigh as the FBI secretary turned stripper Erin Grant, who wants to get custody of her daughter back from her ne’er-do-well Ex Darrell (Dean Winters in his film debut). She soon gets pulled into a caper involving Congressman David Dilbeck (Burt Reynolds) which, naturally, spirals out in a crazy direction. Ted Raimi proves that talent runs in the family, giving us a fun and fast-paced strange descent into the madness that is the US State of Florida. In the end, this silly, sexy, and surreal story captures the full quirky brilliance that we have come to associate with the Brothers Coen and their friends the Brothers Raimi[8].

Striptease_movie_poster.jpg


Striptease, Rated R for nudity, profanity, adult situations, violence, substance use, and depictions of crime; ⭐ ⭐ ⭐ ½



[1] Essentially this takes the place of 1995’s Babe. It will be a moderate success, making $98 million against a $30 million budget, but will not be a breakout hit. What happens to Babe? Stay tuned.

[2] Borden will focus on the satirical angles of the original work and push the edge of saying out loud what Austen hinted at, making it a slightly dark and cynical film where the sex is never shown or stated, but right there on the edge. Will make $84 million, being less widely popular without Lee’s sympathetic direction. Where’s Ang Lee? Coming up next!

[3] With the Lotus Plan in full effect, the Chinese Ministry of the Arts made open overtures to Lee and other acclaimed Hong Kong and Taipei directors.

[4] Will make a modest profit on a small budget and get Goodman an Oscar and Golden Globe nomination for Best Actor.

[5] Actually from Aircel and then Malibu Comics, but produced in partnership with Dark Horse Productions. Dark Horse will later buy Malibu in whole.

[6] Will be a moderately successful thriller rather than a sublime summer action-comedy blockbuster and instant classic. I’m under no delusions that I can come up with anything to match our timeline’s lightning-in-a-bottle film.

[7] Judge Dredd was the last film greenlit by Michael Eisner for Hollywood Pictures before he “left” for Columbia. It will perform well and break $150 million against its $65 million budget, but will not be a top five film. Still, it will be fondly remembered by fans and recognized as a better film than it appears on the surface, gaining a cult following and spurring a forgettable sequel. Lungren will be praised by fans for managing to capture Dredd very well, even the darker pathos of the character. Ironically, he was chosen over “big names” like Schwarzenegger or Stallone because Eisner wanted to save money.

[8] Will be a more beloved production by fans and critics alike compared to our timeline, but without the lure of seeing superstar sex symbol Demi Moore naked, it will make a modest profit but not be a $113+ million hit.
 
I was wondering when MIB would show up. Interesting, specially Robert Patrick as an agent.

The Penguin’s Gambit’s probably going to be viewed as the awkward epilogue is it? Would still watch, however, especially for Bruce (both ones). Guess he’s basically John Mclane here?

Nice to see Striptease go a better way, and surprised to see Dunces here.
 
Charlotte’s Web is one of those classic children’s novels that’s truly timeless, and Fox Films, partnering with the Disney Creatureworks, brings us a sweet live-action adaption featuring some of the most stunningly lifelike animal effects yet seen (I found myself straining to figure out when Wilbur transitioned from living pig to animatronic!). Starring Ashley Johnson as Fern Arable and featuring the voices of Whoopie Goldberg as Charlotte and Macaulay Culkin as Wilber the pig, the adaptation is a sweet and heartwarming and occasionally bittersweet tale of a young pig who befriends a spider in a way that changes both of their lives[1].
Cute movie, basically TTLs Babe.
Also the Whoppie Goldberg casting gag continued, at this point I wouldn't even be surprised if she was in the next Spider-Man!
Taiwanese director Ang Lee made a splash with his “Father Knows Best” film trilogy of family comedies. And now he takes his sympathetic eye to the Chinese mainland in this first big Shanghai-Hong Kong film collaboration for Smiling Dragon Pictures[3], Waking Up. This film follows the Lo family of Shanghai, who is struggling to adapt to the changing world around them, a change made all the more surreal when their father Zhong, a survivor of the Cultural Revolution, emerges from a coma after ten years. As Zhong’s family try to catch their father up to the massive cultural and technological disruptions that affect their world, Lee subtly shows us a moment in time as China, personified by Zhong, adapts to the many changes around it. Rumors persist of challenging production beset by government interference as Lee pushed the bounds of Chinese state censorship, with rumors that the Chinese Cut is 23 minutes shorter than the International Cut. Whatever the case, Waking Up is a dynamic and meaningful film, and a heartfelt exploration of what it means to “wake up” in a new world.
Interesting movie, Ang Lee probably had to jump between the ropes to not get in hot water.

The film is probably full of subtle criticism of the current regime and I'm certain that there's a lot of cut content that was just too much for the censors. Also I'm surprised that they let someone from Taiwan work in the mainland.
After years of false starts, John Kennedy Toole’s Pulitzer-winning picaresque A Confederacy of Dunces comes to the big screen courtesy of producer/director Harold Ramis. And with the great John Goodman as its star, the irascible and endearingly unlikeable Ignatius J. Reilly, the film manages to capture the manic feel of the novel and bring to life its set pieces, and yet, as is often the case when adapting a novel as eclectic as Confederacy, the magic is lost somewhere along the way. Goodman does excellent work in bringing Ignatius to life, capturing the look and feel of the character to an almost uncanny degree. The direction and cinematography are great. The dialog is right out of the book. And yet that je ne sais Quoi is not there. Still, even a flawed adaption of a master work is worth your time, and high marks to Columbia for being willing to take a gamble on a book many feared was “cursed” and a film adaption “unmakeable”. Suffice it to say that while a film version of Confederacy was likely doomed to disappoint, the film itself is still enjoyable for reasons of its own[4].
Sometimes you can't win even if you do your best.
But what about the world from the perspective of the men in black? Director Richard Donner adapts this X-Files-like Dark Horse[5] comic for Orion into a tale that follows two “MiB” agents as they hunt down and “neutralize” any civilian who has learned too much about the alien conspiracy. It’s a job that they justify as doing for “the greater good” for the protection of the populace as a whole. But when new Agent Ecks (Hallie Berry) learns that her partners and mentors Jay (Robert Patrick) and Kay (Wilhelm von Homburg) are secretly working on a dark and self-serving mission of their own, she sets out to do what’s right in this twisting narrative that’s one-part conspiracy thriller and one-part spy caper[6]. While not the most standout thriller, it’s none the less a good tale of conspiracy and intrigue and how one defines “good”.
MIB is a dark thriller? Ironic

People from this Timeline would probably fall over stunned if they saw the OTL film.
Adapting the dark post-apocalyptic story of the self-declared “Judge, Jury, and Executioner” Judge Dredd (played by Dolph Lungren), this violent sci-fi action film directed by Paul Verhoeven reminds one of what Robocop might have been if it took itself seriously. In the post-apocalyptic far future, the world has crowded into “Mega cities” where crime is so rampant that the “Judges” are appointed to singlehandedly met out “justice” at the barrel of a gun. Violent, dark, and gothic, this Mad Max like tale explores the very notions of justice and law and order, taking some time to consider the morality behind the concept, and Verhoeven even takes the time to use the film as a way of addressing our modern questions about profiling, police brutality, and the alarming rate of young black men who die at police hands. What could have been another empty summer action film is thus elevated into a platform that asks serious questions, though you can’t be blamed for not noticing in the face of all of the over-the-top gory action[7]. This is an easy story to overlook, but take some time to dig deeper, and you’ll find that this is more than just another summer splatter-fest.
I think I kinda called this, or at least I said that Judge Dreed would be perfect to fill the void of Robocop.

Too bad the 80s are over or we would've gotten a SatAM cartoon, toys, videogames etc. Kinda sad in a way. Also does he take off the helmet?
Just as too many cooks spoil the broth, so do too many villains spoil an otherwise enjoyable popcorn film in this summer’s Batman: The Penguin’s Gambit. Taking over from the events of the prior film trilogy by Sam Raimi, this fourth outing by director Luc Besson slightly scales back the darkness in favor of more traditional action tropes. Bruce Willis gives Batman/Bruce a more blue-collar vibe, which works for this film when placed against the aristocratic Penguin (Danny DeVito), but clashes with Bruce’s backstory as a child of wealth.
Bruce Willis as Batman?
I guess I can see it.

Danny Devito is just perfect for Penguin, although here it's more akin to the classic comic's version instead of Burton's sewer mutant. So no flipper hands on this or any future Penguin.
And had the plot focused on this dynamic, as producer John McTiernan reportedly wanted, it would likely have worked well. But rumors abound that the studio, still thinking in terms of merchandise (the same reason Raimi allegedly left), reportedly shoehorned in Poison Ivy (Rose McGowan) and Bane (Brian Thompson of He Man fame) as well, along with Julia Roberts returning as the wheelchair bound Oracle and a brief appearance by Uma Thurmond’s Catwoman.
Warner Bros being Warner Bros 🙄
At least Ivy and Penguin make a lot more sense as business partners than Ivy and Freeze. Still sad that Bane still got shafted into henchman status.
These added characters force the creation of a complex plot surrounding Bane and Ivy’s “Venom” and a new ersatz Robin, Christian Bale’s Jean Veilleux, who briefly takes over as the Batman after events that every comics geek knows, but which I will not spoil here.
Lol Christian Bale as the Jean Paul Valley Wannabe (Unless that's his actual name thanks to butterflies), Haha I see what you did there!

Although I have to ask if he will be as psychotic as his comic's counterpart and if Bruce will need to fight him for the mantle? Maybe that could be a nice addition to his portfolio and might land him the role of a certain 80s investment banker?
Whatever the case, while the top-heavy addition of heroes and villains will probably sell a lot of toys and Happy Meals, it dilutes what might have at least been a fun summer action film. Besson and McTiernan, for their part, have reportedly already turned down Batman 5.
Seems like the Batman series is on its last legs, I wouldn't be surprised if Batman 5 was the last hurrah for this incarnation of the character in a solo film. Hopefully Justice League will be a hit!
Ethan and Joel Coen are no stranger to the bizarre world of crime and quirky characters, so having them produce the works of equally quirky Florida crime novelist Carl Hiaasen is a natural. Following on from their earlier success with Hiaasen’s Tourist Season, the Coens produced Striptease for Hyperion, directed by Ted Raimi. It features Jennifer Jason Leigh as the FBI secretary turned stripper Erin Grant, who wants to get custody of her daughter back from her ne’er-do-well Ex Darrell (Dean Winters in his film debut). She soon gets pulled into a caper involving Congressman David Dilbeck (Burt Reynolds) which, naturally, spirals out in a crazy direction. Ted Raimi proves that talent runs in the family, giving us a fun and fast-paced strange descent into the madness that is the US State of Florida. In the end, this silly, sexy, and surreal story captures the full quirky brilliance that we have come to associate with the Brothers Coen and their friends the Brothers Raimi[8].
Wanky, zany, sexy. Perfect film.
[1] Essentially this takes the place of 1995’s Babe. It will be a moderate success, making $98 million against a $30 million budget, but will not be a breakout hit. What happens to Babe? Stay tuned.
Hopefully not the butcher. Lol
[5] Actually from Aircel and then Malibu Comics, but produced in partnership with Dark Horse Productions. Dark Horse will later buy Malibu in whole.
Marvel won't get Malibu? Interesting
I wonder if Darkhouse will join the superhero craze too? Also don't they own the rights to the Phantom now?

Great chapter @Geekhis Khan
 
Some great stuff here.


She joins Trevor in Gateway City where she learns of the hard realities of the modern world in a big fish-out-of-water narrative, and must learn to lean on her compassion over her overt Amazonian sense of belligerent superiority…Some, particularly second-wave feminists, will complain that Diana’s arc is to learn traditionally feminine values (compassion and empathy) and assume it’s a regressive view of femininity,

I can see both sides of this. Honestly, what concerns me more is the idea that Amazonian values are Wrong, and Diana has to go to Man's World to learn better, regardless of what those values are.
Yeah.

This is something I can see a lot of Wonder Woman stans (myself included TBH) being ‘ehhhhh…’ about. Not least the idea that she has to learn compassion from Man’s World. Like…she’s meant to already be compassionate, her thing is that she’s the most compassionate superhero. Heck, that’s why the Amazons were created - they’re meant to be stronger than mortal men, but balanced with wisdom and compassion. She should already be gentle and compassionate, not bellicose - just that compassion is matched with the ability to throw tanks ;)
Although I suppose that the more right her Amazon upbringing is, the harder (but not impossible) it is for her to have any kind of character arc.
Not necessarily. It can be a case of her isolation being what’s wrong, that it’s given her too black and white a view of the world and she needs to get nuance/the idea that things don’t automatically get better just because the villain is beaten.
 
Shame about Batman succumbing to sequelitis, but TTL me would probably go to see it anyway. Also Dredd, maybe MIB, and ... he would probably wait for Charlotte's Web to be on TV because he's a self-conscious 19 year old, and doesn't know any small children he could pretend to be taking.
Lungren will be praised by fans for managing to capture Dredd very well, even the darker pathos of the character.
But does he keep his helmet on?
 
Starring Ashley Johnson as Fern Arable and featuring the voices of Whoopie Goldberg as Charlotte and Macaulay Culkin as Wilber the pig, the adaptation is a sweet and heartwarming and occasionally bittersweet tale of a young pig who befriends a spider in a way that changes both of their lives[1].
I think it's become an ITTL running gag that Whoopi Goldberg must play a spider once in a while. I guess the next step for press outlets is for them to claim that she will play a black widow in some horror flick, lol.
 
Starring Ashley Johnson as Fern
I have no idea if the Khan is a Critter, but that's a very sly reference there if he is.

Also, Verhoeven makes Dread? Oh yes, that's getting added to the 'films I would have seen in university after missing them in theatres' list for this timeline.
 
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I think it's become an ITTL running gag that Whoopi Goldberg must play a spider once in a while. I guess the next step for press outlets is for them to claim that she will play a black widow in some horror flick, lol.
and cue a star trek episode in which guinan devolves into a spider lol (yes reg was at it again lol)
 
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