The kind of thinking I like to see, the kind of thing I like to think aboutâ and tell my students to think about.
Amazing how much a movie could be fixed by telling it from the womanâs POV.
âI was genuinely surprised by just how creepy Prattâs character is when you take away his POV. We donât know whether to trust him or not, believe him or not ⊠We feel the cruelty as she feels it.â
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 sheâs jogging around the concourseâŠand Pratt keeps talking to her over the ship-wide comms system? Given the original edit with Pratt being set up as a Nice GuyâąÂ , it was supposed to be romantic like a boombox scene, I guessâŠ
âŠbut itâs terrifying! She canât 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.Â
Itâs the last two people on earth fantasy that guarantees the man his choice of hot babe. :/ Because heâs a Nice Guyâą and deserves a second chance.
This is a really good example of two important storytelling principles that Iâve come back to over and over again.
1. Entering the story as late as possible is often the most interesting choice. See how much creepierâand more engagingâthe 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. Youâre choosing whose eyes we see the world through, whose mission weâre hoping will succeed, and whose interior life we empathize with. This is an example of a premise that gets way more interesting when you donât assume itâs going to be told from the Default White Guyâs point of view.
Oooh, I love the suggested alternate ending with Pratt dying. What a fantastically dark option.
honestly âiâll do whatever you wantâ âthen perishâ is the single most powerful exchange possible in the english language and itâs from some bizarre âhewwoâ obama rp
And there was that other post where someone dreamt that Obama said âviolence for violence is the rule of beastsâ like what is it about Obama that makes people come up with such raw fucking dialogue for him
my mother had a dream where he lived in the forest and she had a cigarette with him and he said âto become god is the loneliest achievement of them allâ and put it out and walked into the mist and iâve never fucking forgotten that
petition to make Earth Wind & Fire the new September meme instead of mocking the Greenday guy for mourning his dad
Pros: Funky beats, a classic late â70s R&B soul jam, it perks me up when Iâm depressed as fuck, and also you wonât be tweeting relentlessly âreminder to wake upâ at a guy who wrote a song about his fatherâs death
Cons:Â for the rest of the year youâll have âBAAAA DEEE YAAAA DEE YAAAA DEEE YAAAAAAAAA, BAAAAA DEEE YAAAA DEE YAAA DEE YAAAAAAâ stuck in your head, which imo is a fair trade off
PLUS!!!!!
It was, by far, THE FUNNIEST (imo) Duck Army soundtrack. A video of the Vine I saw is proving to be elusive, but Iâll edit with a video if I find it!
