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assetandmission:

delirieuse:

fuckyeahisawthat:

flamethrowing-hurdy-gurdy:

trilliath:

audiaphilios:

The kind of thinking I like to see, the kind of thing I like to think about– and tell my students to think about.

Amazing how much a movie could be fixed by telling it from the woman’s POV.

“I was genuinely surprised by just how creepy Pratt’s character is when you take away his POV. We don’t know whether to trust him or not, believe him or not … We feel the cruelty as she feels it.”

I mean, I doubt many women would be nearly as surprised but yeah, a very interesting take on how stories are not the same when told starting from different points and perspectives

Excellent analysis.

Do you guys remember the scenes after the revelation where JLaw told Pratt to leave her alone and she’s jogging around the concourse…and Pratt keeps talking to her over the ship-wide comms system? Given the original edit with Pratt being set up as a Nice Guy™ , it was supposed to be romantic like a boombox scene, I guess…

…but it’s terrifying! She can’t get away from him. No matter where she goes he can still talk to her, force her to hear him. Like the creep who sits down next to a girl on the train and insists on talking to her despite her book, her headphones, her body language and her verbal refusal to engage, Pratt just keeps coming at her like an entitled predator. 

It’s the last two people on earth fantasy that guarantees the man his choice of hot babe. :/ Because he’s a Nice Guy™ and deserves a second chance.

This is a really good example of two important storytelling principles that I’ve come back to over and over again.

1. Entering the story as late as possible is often the most interesting choice. See how much creepier–and more engaging–the movie gets when we chop off the first 30 minutes? In this case, withholding important information until as late as possible is much more effective than seeing the story in a purely linear fashion.

2. Who you pick as your protagonist is the most important political choice you make as a writer. You’re choosing whose eyes we see the world through, whose mission we’re hoping will succeed, and whose interior life we empathize with. This is an example of a premise that gets way more interesting when you don’t assume it’s going to be told from the Default White Guy’s point of view.

Oooh, I love the suggested alternate ending with Pratt dying. What a fantastically dark option.

This is fucking fascinating.