May the Spinoffs Be With You

After doing spinoff series proposal articles for Harry Potter and Middle Earth, it'd be criminal not to cover Star Wars as well. Like Potter, Tolkien, Marvel, and DC, there are more than enough stories and characters to support a shared universe. Now that Disney owns "Star Wars" and is planning both a sequel trilogy and standalone films, I think it's a perfect time to speculate what those standalone films could be. Now, fun fact. When George Lucas saw the success of Episode IV, he planned out a total of 12 films-three trilogies charting the Skywalker Family, and a trilogy of spinoffs. He whittled it down to nine, then three, then bumped it back up to six. 

Ironically, Disney's now fulfilling Lucas's original promise of a total of nine Episodes along with spinoffs. But Star Wars now has an entire Expanded Universe to draw from for films. Everything post-VI may now be non-canon (or is it?), but everything before and during the first two trilogies is ripe for adaptation. So I've cherry picked some of the best EU stories and concepts, and mapped out a series of nine spinoff films, divided into three trilogies. Like my other proposals, the number of films here mirrors the number of existing films (or soon to be existing). With one exception, all of these films are set before or in-between Episodes I-VI, just because I don't know how much of the EU will remain canon once VII comes out. So sorry EU fans, no Thrawn Trilogy adaptation. Anyway, let's begin. 

1. Dawn of the Jedi- The first trilogy is set thousands of years before Episode I, and focuses on the origins of the Star Wars universe. The first film will explore the origins of the Jedi and Sith orders, the discovery of the Light and Dark Sides of the Force, the invention of the Lightsaber, and the creation of the Republic. The focus would be the Force Wars which began on the planet Tython, where philosophers and warriors from across the galaxy gather to study the Force. 

As they study and harness it, more militant factions create prototype lightsabers (complete with proton-pack like devices which charge them). Years pass, and these first Force users develop lightsaber wielding techniques, while swearing oaths to only use the Force in defense of innocents. Others become tempted by the Dark Side, and fight their counterparts for control of Tython. Eventually, the proto-Jedi banish their evil brethren to the planet Korriban/Moraband, where they establish the order of the Sith Lords and plot their revenge. The film would end with the establishment of the Galactic Republic on Coruscant, with the newly formed Jedi Order swearing fealty to them.

2. Knights of the Old Republic- Picking up a few thousand years later, KOTR would adapt the popular video games of the same name. Darth Revan would be the main character, a Sith Lord who gets amnesia and begins the film as a Jedi. He assumes he's been a Jedi all his life, and remembers being a Jedi Knight in the great Mandalorian Wars (the culture Boba and Jango Fett come from). He wears a Mandalorian mask as a trophy from those wars. However, there's a huge gap of time that he can't remember. He falls in love with fellow Jedi Bastila Shan and befriends Republic officer Carth Onasi, and also keeps the assassin droid HK-47 as company. After encountering Darth Malak, Revan realizes Malak was his best friend and former Sith apprentice. 

Following the Mandalorian Wars, Revan and Malak ventured into Unknown Space tracking a mysterious Sith presence. Revan and Malak found the Sith Lords they thought defeated long ago have reconstituted a Sith Empire out of Korriban. They were swayed by the Dark Side and became Sith Lords themselves, sent as advance agents to prepare for a Sith Invasion. However, Malak betrayed Revan and wiped his memory, taking control of the Sith forces in the Jedi Civil War. Finding redemption through Shan's love, Revan races to retrieve an ancient pre-Republic superweapon called the Star Forge before Malak can get to it. This film would be incredibly large in scale and feature the first onscreen battles between armies of Jedi and Sith. Revan's story is incredibly cinematic, and it'd be a delight to see it come to life on the silver screen. 

3. Bane of the Sith- This film is set exactly 1,000 years before Episode I, and in many ways directly sets up the events of the Skywalker Saga. Over thousands of years, the Jedi and Sith continue to wage war. Whenever the Jedi believe the Sith defeated, they simply gather more power and emerge with stronger armies. The latest war finds the Sith nearly triumphant, with over half the galaxy in their grasp. Among them is Darth Bane, an ambitious, high ranking Sith Lord who believes the Sith will never gain full power as long as their armies are plagued by infighting. He has a radical new idea that the Sith Order should only consist of two people-a Master and an Apprentice. Convinced his Rule of Two will ensure the true survival and eventual dominance of the Sith Order, Bane prepares a powerful Force Weapon that will annihilate the Sith Army. 

Meanwhile, the Jedi become increasingly militant, and act as the Republic's armed forces. The senators are all but stripped of their political power as a result of the war. A group of senators propose reforming the Republic so power is returned to the people, with the Jedi becoming Keepers of the Peace. The Jedi Army recruits a young Force User named Zannah into their ranks, and eventually the Jedi and Sith clash on the planet Rusaan. When the conflict becomes too chaotic, Bane assumes leadership of the Sith Army and negotiates a temporary ceasefire. 

Bane leads the Sith into one of Rusaan's many cave systems and detonates his weapon-the Force Bomb, a bubble of concentrated Force energy which, once detonated, obliterates all living things in the vicinity. The Jedi witness the bomb's detonation, and after inspecting the area, declare the Sith Order extinct. The Republic undergoes massive reforms, and the Jedi agree to strip themselves of their military powers.  In secret, Bane survives, and finds the abandoned Zannah and takes her as his new apprentice. He promises that one day, the Sith will have their vengeance on the Jedi Order and emerge as the Galaxy's true rulers. 

   

4. The Tragedy of Plagueis- The second spinoff trilogy focuses on various Jedi and Sith as they weave throughout the Skywalker Saga. The first installment focuses on the Sith. This would be a direct prequel and sidequel to Episode I, leading up to and taking place during said film. It would detail the plans of Darth Plagueis, the heir of Darth Bane's Rule of Two order, as he trains Palpatine and uses his political connections to make Palpatine a senator. He hopes to have Palpatine elected Chancellor, secretly guiding him into exterminating the Jedi and installing the Galactic Empire. 

Plagueis begins experimenting with the Force, flooding the galaxy with Dark Side energy in an attempt to create and extend life. Ultimately, Plagueis wishes to create the long prophesied Chosen One, twisting this person into a weapon to help rule the galaxy. Through Plagueis's guidance and influence, Jedi Master Sifo-Dyas commissions the Clone Army on Kamino. Palpatine then convinces Sifo-Dyas's good friend Count Dooku to kill him, using Sifo-Dyas as a cover to continue the Clone project. Dooku erases Kamino from the Jedi Archives, and quits the Jedi Order. 

Plagueis oversees Palpatine training Darth Maul, and helps Palpatine get nominated for Chancellor during the Naboo Crisis. Plagueis also learns of Anakin Skywalker, and theorizes he could have been conceived by the Force during one of his many experiments. A vision convinces him Anakin will change history, so he becomes determined to keep Anakin away from the Jedi. He tells Palpatine to guide the boy should the Jedi train Anakin. 

On the eve of his election, Palpatine figures that Plagueis has outlived his usefulness. He gets his Master intoxicated and violently kills him in his sleep with a torrent of force lightning. Soon afterwards, Palpatine learns of Darth Maul's death on Naboo, and recruits the now exiled Count Dooku as his next apprentice, Darth Tyrannus, while secretly waiting to corrupt Anakin so he can be his next apprentice. The film will have a more "Game of Thrones" feel to it with the political machinations, and will clear up any mysteries left hanging by the prequels. 

5. The Dark Times- Since the first film in the second spinoff trilogy focused on the Sith Lords, this one would focus on a Jedi. Specifically, Obi-Wan Kenobi. Since a good chunk of his life was covered in the prequels, this film would focus on Kenobi as a hermit in between Episodes III and IV. He'd begin the film meditating with Qui-Gon Jinn's spirit, and reminiscing about key moments from his past. Among these moments: Young Kenobi training with Yoda and then Qui-Gon, Adult Kenobi training kid Anakin, and Kenobi helping Senator Bail Organa during a Clone Wars skirmish. Kenobi would think about his past mistakes, and feel guilty for Anakin's corruption. 

To keep a young Luke safe, Kenobi sets out to take down a growing army of Tusken Raiders, who are raiding several homesteads. There'd be a western/Samurai feel, much like the films Lucas first drew on for the original trilogy. Kenobi learns that the Raiders are being led by a surviving Jedi, A'Sharad Hett, and eventually duels him to make him remember the ways of the Jedi. When Kenobi encounters a young Luke, Owen Lars warns him never to set foot on their property again, citing his belief that Anakin should never have abandoned his mother to go with Kenobi to be a Jedi. While the film will have space battles and lightsaber duels, this one is meant to be a quieter character piece, focusing solely on Kenobi's transition from Clone Wars legend to the old man from Episode IV. 

6. The Force Unleashed- So since we got a Sith movie followed by a Jedi movie, I figured we need a film that strikes a balance between Light and Dark. What better story than The Force Unleashed, since Starkiller's story is ripe for a cinematic take. To be clear, I mean the first game, as I hate the second one with a burning passion and disregard it as canon. Anyway, players of the game should be familiar with the story. Darth Vader takes in a young Force User, Galen Maarek, and raises him as his secret apprentice Starkiller, helping to exterminate any Jedi who survived the Purge. Starkiller is eventually ordered to round up the members of the Senate who oppose the Emperor, for Vader to execute. 

When Starkiller is betrayed by Vader, he rallies the Senators into forming the Rebel Alliance, using his old family crest as their symbol. A final duel with Vader and the Emperor leads to Starkiller's death, with him becoming a martyr for the fledgling Rebellion. Since "The Dark Times" is set entirely on Tatooine, this film would act as a better transition between the originals and prequels, and deliver more characterization for Vader and Palpatine. Starkiller's redemptive arc is emotional enough to transfer to the screen, and the name recognition from a popular video game would ensure success (much like Knights of the Old Republic). 

7. The Smuggler's Run- This will be the first in a trilogy on the Star Wars underworld. No Jedi or Sith, just smugglers and bounty hunters. My first film is a Han Solo origins story, as blasphemous as that seems. In this film, Han would begin as a member of the Imperial Academy. He'd get kicked out after saving the enslaved Wookie Chewbacca. For this, Chewie owes Han a life debt and swears to accompany him. Needing a ship, Han and Chewie win the Millenium Falcon from Lando Calrissian in a game of Sabaac, and begin a smuggling career. They end up smuggling a huge amount of spice from the Kessel Mines for Jabba the Hutt. To evade Imperial ships, Han and Chewie take the infamous Kessel Run, a dangerous space route. They cut down on both time and distance by flying closer to the black hole cluster throughout the Run, making the delivery successfully. If an actor was found who could capture the charisma of a younger Han, I see no reason why this wouldn't work as a film. 

8. The Mandalorian Contract- As much as I love Han as a character, I don't want to focus more than one installment on him. Instead, I'd rather focus on Boba Fett, and give some depth to the elusive bounty hunter. Since Episode II was his origins film, this film would take place sometime after III. Boba is already a grown man, who returns to his home planet of Mandalore to learn more of his warrior culture. He dons the iconic green Mandalorian armor, and sets out to become the galaxy's most famous bounty hunter. The film could even intersect with "Smuggler's Run", with Boba tracking down Han at one point to collect a bounty. His arc would be trying to step out of his father's shadow, and become more than just Jango's clone. To do this, he will never take off his helmet, since he hates being reminded of what he is. If the new "Dredd" movie could make it work, I'm sure Boba can do it too. Han Solo showed the smuggler's world, so Boba Fett will dive into both Mandalorian culture and the world of bounty hunters, making for a gritty yet entertaining film. 

9. A New Bounty- I said at the beginning that there'd be one exception to my spinoff timeline, that being this film. Since Disney is going forward with the Skywalker Saga, I figure the spinoffs should go forward too. This would be a sequel to "Contract", again focusing on Boba. However, while the first film was a younger Boba trying to establish a rep, this one has an older Boba re-establishing it. The film would open with his escape from the Sarlaac Pit, thus a post-Episode VI setting. Finding his rep's been damaged after word of his "death" spread, Boba sets out for a major job that'll reassert his position as the galaxy's best bounty hunter. Only problem is, with Jabba the Hutt dead and the Empire defeated, most of his contacts are dried up. Boba is forced to find work with the Black Sun Organization, sort of like the Galactic Mafia. They're competing against remnants of the Empire for smuggling routes. 

To ensure Black Sun gets those routes, Fett has to take out an Imperial officer who controls one of the few remaining Imperial Star Destroyers. Honestly, this entire plot could be undone depending on what direction Abrams takes for the sequels. However, since I want to set this almost immediately after VI, I don't see it conflicting that much since VII is set 30 years afterwards. Fett could still be alive or have actually died by then, and any Imperial remnants would be disposed of. 

I didn't want to propose adapting the Thrawn trilogy, Dark Empire or the Yuuzhan Vong War only because those would majorly impact VII's plot. That is, if they're considered canon. Depending on what VII does, those stories could easily make for future spinoff films. But for right now, I find the pre-Episode I and III-IV gaps more interesting than anything post-VI, hence why these proposals are mined from those eras. This film is an exception because I really wanted to restore Boba Fett's coolness again after VI, and canonize his survival from the Sarlaac. Now that I've done that, I can end my Star Wars spinoff series pitch properly. May the Force Be With You. 

One Spinoff to Rule Them All

I've documented it well over several rants: Hollywood is spinoff crazy. Ever since "The Avengers", the shared universe model is king. We now have three Marvel universes in development, a DC universe, and forthcoming Harry Potter and Star Wars universes. I've already written at length about how I'd approach a shared Harry Potter world. Star Wars will be forthcoming. Today, however, I'd like to focus on that other huge fantasy epic: J.R.R. Tolkien's Middle Earth, already playing across two film trilogies in "Lord of the Rings" and "The Hobbit."

"The Hobbit" trilogy is coming to an end this year, and I've recently learned of a potential title change from "There and Back Again" to "Into the Fire." While I prefer the former, the latter does sound more active and befitting of a trilogy closer. But no matter what it's called, this film will be tinted with sadness as it's the last Middle Earth film any studio can legally make. The Tolkien estate refuses to sell the film rights to "The Silmarillion", basically the Bible for Middle Earth that outlines its entire history, from the creation of the world up until the first defeat of Sauron. I think this is a shame, as "The Silmarillion" has massive cinematic potential.

Now, I've never actually read "The Silmarillion." My allegiance to Middle Earth is great, but it's not the undying loyalty I give to Marvel, DC, Harry Potter, or Star Wars. My entry point was the movies, and I only ever read "The Hobbit" and "Fellowship of the Ring." Maybe a die hard Tolkien fan would be better suited to write this, but I'm giving it my best shot anyway.

I may not know Tolkien's lore intimately, but I've done my research. There's so much material here to mine for movies that it'd be a shame to leave it untapped. Using my Harry Potter pitch as inspiration, I've mapped out six interconnected films, to mirror the six Middle Earth films we already have. These six movies would focus on different heroes, but together they'd serve as an excellent spin-off series that greatly ties in to the previous trilogies. So, shall we begin?

1) The War of the Jewels- Like every Middle Earth film before it, this one would begin with an extended prologue. This would, however, be the mother of all movie prologues. Here, the God of Middle Earth, known as Eru or Illuvatar, creates the world and populates it with angelic beings called Ainur. He teaches the Ainur a great music, which they would use to shape the world. One of the Ainur, Melkor, deviates to create his own music and plunges the world into chaos. The Ainur divide into two classes of beings, the Valar (gods or high angels) and Maiar (lesser angels). Melkor corrupts some of the Maiar into his service as Balrogs, while other Maiar remain with the Valar.

The prologue would end with the Valar moving to the continent of Aman, west of Middle Earth, and establishing their kingdom of Valinor. The first sentient race, that of the Elves, awakens. Some stay on Middle Earth, while others move to Aman with the Valar. The sun and moon do not yet exist, so light comes into the world thanks to Two Trees which illuminate Valinor. Our story would begin with our hero, the elf Feanor, prince of the Noldor tribe of Elves. Feanor uses the light of the Two Trees to create the Silmarils, jewels that burn with an inner light. Desiring the Silmarils, Melkor travels to Aman and cuts down the Two Trees with the help of Ungoliant, a massive spider who'd later spawn Shelob (from "Return of the King") and the spiders from "Smaug."

Melkor kills Finwe, Feanor's father, before departing for Middle Earth. He attacks the elvish kingdom of Doriath and barricades himself in his fortress of Angband, where he fashions the Silmarils into an Iron Crown. Desiring vengeance for his father and the return of the jewels, Feanor renames Melkor as Morgoth, the first Dark Lord, and rallies his people to sail to Middle Earth to get the Silmarils back. They slay their kin from a sister tribe to steal their ships, for which all the Noldor Elves following Feanor become cursed.

Feanor abandons some of the Noldor, who must cross Middle Earth on a huge ice path, one of whom is a young Galadriel (she could easily play a huge supporting role here). Eventually the Noldor all reach Middle Earth, and fight Morgoth at Doriath in the Battle-Under-Stars. They are triumphant, forcing Morgoth to retreat to Angband, but Feanor is killed by Balrogs. This would end the first film, as it concludes our hero Feanor's tragic story. His character arc would drive the film, as his conflict with Melkor/Morgoth would be visually spectacular to witness.

2. Of Beren and Luthien- This story is definitely the easiest to translate to film, as it has adventure, romance, and two lead characters whose story is almost Shakespearean in its telling. A new prologue would fill in the gaps between this film and the previous. It would explain how the Valar created the Sun and Moon to light the world in place of the fallen Two Trees, and how Men came into the world. One of these men, Beren, falls in love with Luthien, princess of the elven kingdom of Doriath from the previous film. Their love sparks the first human-elven romance, mirroring that of Aragorn and Arwen. Beren wishes to marry Luthien, but her father, Thingol, only consents if they bring him a Silmaril from Morgoth's Iron Crown. Determined, the two set off to Angband to retrieve one of the Silmarils.

They encounter Morgoth's second-in-command, the fallen Maiar Sauron, and the great werewolf Carcharoth, but manage to sneak into Morgoth's lair and cut one of the Silmarils from his crown. Carcharoth swallows the Silmaril, along with Beren's hand, but goes mad from the jewel burning through his body. Carcharoth is put down in the forests of Doriath by a great hound named Huan, but Beren dies from his wounds. Unable to live without him, Luthien binds herself to him to make her mortal, and travels to the Realm of the Dead to plea for Beren's life. They are both returned to life as mortal humans, content to live out the rest of their days. Their captured Silmaril becomes a family heirloom, passed down through generations.

3. The Children of Hurin- While this story isn't as simple as Beren and Luthien, it has the advantage of being the only "Silmarillion" tale to be expanded into a full-length novel. This means it's ripe for a movie, and thankfully the story and characters are perfect for film. Another tragic tale, this one recalling Oedipus, the film's prologue would be the Battle of Unnumbered Tears. Beren and Luthien's theft of one of the Silmarils proved Morgoth wasn't invincible, and a huge army of Men, Elves, and Dwarves set out to destroy Morgoth. With the aid of the dragon Glaurung, Morgoth decimated his opponents and took over the entire North. In this battle Morgoth took the man Hurin captive, and cursed his family for his defiance.

Hurin's son, Turin Turambar, becomes a great hero, but has bad luck and a raging temper due to Morgoth's curse. Glaurung puts a spell on Turin's sister Nienor to make her forget her heritage. For a time, Turin and Nienor fall in love and become husband and wife. Turin eventually slays Glaurung in a climactic battle, but with the dragon's death the enchantment is lifted. Now knowing of their incestuous marriage, Nienor throws herself from a tower and Turin falls on his sword. The film would end on a tragic note, with Hurin finally released from Morgoth's service to see the death of his children.

4. The Light of Earendil- Fun fact, this is actually the very first Middle Earth story Tolkien ever conceived, in the form of a poem. This would signify the end of the First Age of Middle Earth and the final defeat of Morgoth. This film's prologue (or rather opening act) would be the siege of Gondolin, the last of the great elven cities to fall to Morgoth's wrath. Our main character is Earendil the Half-Elven, the son of another union between man and elf. Earendil flees Gondolin with his family as a child, and grows up to marry Elwing, the mortal granddaughter of Beren and Luthien. Elwing has inherited her grandparents' stolen Silmaril, which she and Earendil use to sail to Valinor.

Once there, they plead to the Valar to offer aid in defeating Morgoth. The Valar pardon the Noldor tribe of Elves who rebelled with Feanor so long ago, and utterly destroy Morgoth's forces in the War of Wrath. Earendil himself takes down Ancalagon the Black, the mightiest dragon in Middle Earth's history. The remaining two Silmarils are cast into the sea, after Feanor's descendants find they burn to their touch. Morgoth is destroyed permanently.

Earendil and Elwing have two children, Elrond and Elros, whose Half-Elven status means they could choose to either be human or elven. For his deeds in battle, Earendil's ship is enchanted by the Valar to fly, and he now roams the heavens with the last remaining Silmaril as the brightest star in the sky. The star whose light Galadriel will one day give to Frodo in the "Rings" trilogy.

5. The Fall of Numenor- Elrond and Elros, Earendil's two sons, set out on different paths. Elrond chooses to remain an immortal Elf, and settles Rivendell. His brother Elros, however, chooses to be a man, and becomes the first king of Numenor. This is a great island nation lying between Middle Earth and Valinor, given to men by the Valar. The Numenoreans, while still mortal, are blessed with long life, and hold power and wisdom to rival the High Elves. But in the absence of Morgoth, his chief lieutenant Sauron becomes the new Dark Lord.

Because he is a Maiar, Sauron still maintains a fair appearance, and he comes to Ar-Pharazon, the last king of Numenor, to be his adviser. Sauron corrupts Pharazon, convincing him that immortality is to be envied and that they could obtain it by attacking the Valar. Elendil, also of royal blood, tries to persuade Pharazon otherwise, but he chooses to attack Valinor anyway. The Valar punish the Numenoreans by sinking their great island kingdom, signifying the corruption of Man. Elendil manages to lead survivors away from the Deluge, and upon arriving in Middle Earth, Elendil sets up the kingdom of Gondor. This would be another film that ends in tragedy, but the origins of Gondor allow a great tie-in with "Rings" and allows the film to go out on a happier note.

6. The Rings of Power- Just as "The Light of Earendil" ended the First Age with Morgoth's defeat and "Return of the King" ended the Third Age with the final defeat of Sauron, this film will show the end of the Second Age with Sauron's first defeat. It will have the most ties to "Lord of the Rings" and "The Hobbit", in many ways acting as an origins film for those trilogies. We'd be treated to three separate story strands. One involves Elendil's son Isildur marshaling Gondor's armies for the coming attack on Sauron. Elrond and Galadriel will also be involved here, helping to forge the Last Alliance of Men and Elves.

The second strand involves Sauron himself, as he influences the creation of the Rings of Power. 19 are initially created so he could corrupt the Elves, but they sense Sauron's influence and take them off, only keeping three. Sauron creates the One Ring to influence the other rings. He takes the remaining ones and gives them to nine kings of men and seven dwarf lords, among them Durin (Thorin's ancestor, with his ring explaining his line's immense greed). The men are corrupted into the Nazghul, Sauron's chief servants. With the One Ring in his possession, Sauron's power only grows, necessitating the creation of the Last Alliance. The third strand takes place in Valinor, where several Maiar, including one named Olorin, look on as Sauron's influence spreads.

The film concludes with a longer version of the battle against Sauron that serves as the prologue for "Rings". Elendil is killed in battle, and Isildur cuts off the One Ring. Olorin and other Maiar then see a montage of other events, including Isildur's death, the loss of the Ring, the Nazghul attacking Gondor, and the creation of the Rangers of the North. Realizing Sauron will one day return, the Valar instruct Olorin and four other Maiar to take physical form on Middle Earth as Istar, or wizards. Olorin becomes Gandalf, instructed with counseling the Free Peoples of Middle Earth in preparation of Sauron's return. Elrond and Galadriel, bearers of two of the three Elven Rings, give the third to Gandalf, and contemplate Middle Earth's future.

This would end my "Silmarillion" film series, creating the perfect set-up for the other two trilogies. While I can't say each film is wholly self-contained, they do each have their own heroes and stories, all mapping out the definitive history of Middle Earth. Some parts of the book would have to be removed or glossed over, but otherwise a lot of the major events are covered here.

If released over three or four years with two films per year, I could see this working. Peter Jackson may only be one of a group of directors brought on to make this work, but I see it being possible. The only other way to adapt his would be as a lengthy TV show, "Game of Thrones" style, but there are battles here that require a budget only film can provide. If brought to the screen in this format, I truly believe "The Silmarillion" could work, and make for a fantastic film series that tells the rest of Middle Earth's valued history.

Filling in the Gaps: Marvel One-Shots and S.H.I.E.L.D.

When I said I'd conclude my MCU coverage tomorrow, I actually meant ten days later. Ok, I didn't really mean that, but I can point the blame at some computer problems and an increased workload. The point is, I'm here to conclude my journey through the updated MCU properly. I've reviewed all nine films, from "Iron Man" to "The Winter Soldier", but there are some gaps to fill in. The great thing about the MCU is that its creators listen to its fans. They pay attention to continuity, and in the event something in their films goes unexplained or doesn't go over well, they use a One Shot to cover it.

I briefly touched on the first two One Shots, "The Consultant" and "A Funny Thing Happened On The Way to Thor's Hammer", during my Phase I retro reviews. Both starred Agent Phil Coulson, the breakout star of the MCU, in a day in the life of a SHIELD agent. "Hammer" was just a fun little side story that showed off how badass Coulson was. "The Consultant", however, filled in a crucial gap that sorted out the timeline of Phase I, and put the ending scene of "The Incredible Hulk" into context. It was then that I realized how important these One Shots could be. Little did I know, they'd have a bigger impact that I initially realized.

The following two One Shots, "Item 47" and "Agent Carter", were further explorations into SHIELD's inner workings. One showed SHIELD tracking down a Chitauri weapon in the fallout of the New York battle, the other showed SHIELD's origins with Agent Peggy Carter immediately following the first "Captain America." "Item 47" was cute but a little unnecessary, kind of like "Hammer." "Agent Carter", however, really showed off Haley Atwell's skills as Cap's favorite gal. The short cemented her status as a founding member of SHIELD, and once again took advantage of its period setting. It was a really entertaining short that added something of value to the MCU mythos.

That, however, was nothing compared to the latest short. "All Hail the King" is probably the most significant of the One Shots, actively setting up future stories while wrapping up threads from an entire trilogy. In "King", Ben Kingsley returns as Trevor Slattery, who's interviewed in prison about the Mandarin scandal. As it turns out, Aldrich Killian and AIM never worked with the actual Ten Rings, only using their image and the name of their leader, the Mandarin, as part of their scheme.

As such, the Mandarin is a real person, and he's pissed at Killian and Slattery ruining his name. I was completely blown away by this, as it not only tied everything back into "Iron Man 1", but blew the Mandarin mystery wide open for a possible "Iron Man 4." Like I speculated in my rant about the Mandarin controversy, we could easily see someone else take up the mantle in a future film, and now it looks like we're actually getting that. Maybe we'll get to see the actual ten power rings in all their glory one day.

But until then, it was great just to see more of Kingsley's Slattery character, which made the entire short hilarious. An unexpected, but not unwelcome, cameo from "Iron Man 2's" Justin Hammer also resolved that plot thread, while adding even more hilarity. The short was fantastic all around, but more than anything, it made me see how intent Marvel is on filling in the gaps in their universe.

But it's one thing to resolve a dangling thread with a short film. What about having an entire TV show? The reception of the One Shots led Marvel to greenlight "Agents of SHIELD", resurrecting Phil Coulson to lead a small crack team of agents in missions across the globe. I've already briefly touched on the show. Specifically, how Coulson's breakout popularity led to his resurrection even though there wasn't a strong in-universe reason for it. I never got a chance to really analyze the show as a whole, so now's as good a time as any, especially with its first (and possibly only) season about to wrap up.

For starters, Coulson is as charming here as he was in the Marvel films. Clark Gregg brings Coulson's charisma from the big screen to the small screen effortlessly, and for the first few episodes really carries the show. Unfortunately, it's his performance that literally carries things for the first half. I thought the pilot was good enough, and could see the potential, but thought it lacked something that made it worthy of being a pivotal MCU addition. Namely, the other SHIELD agents.

The scientist duo of Fitz-Simmons was annoying, specialist Grant Ward was too bland, combat trainer Melinda May too mysterious, and hacker Skye way too comical. The fact is that none of these characters were very interesting, and it was only Coulson and the "origin story" for failed Extremis soldier Mike Peterson that kept me interested in the pilot. Further episodes didn't do much to calm my suspicions.

It was fun at first just to tune in to the MCU every week. But soon I was watching more to see if it improved than anything else. There were some interesting developments, sure, like a superhuman index and "0-8-4" classifications for strange objects. But the characters didn't change much for me to really care for them. Not to mention the episodes were too standalone in nature, with no clear direction as to where things were headed.

The ongoing mystery of Coulson's resurrection was wearing thin, and I began to wonder if this show would end up being worth it. The first true MCU crossover, a "Thor: The Dark World" tie-in, was superfluous at best, making me question the show's commitment to honoring the larger universe. Luckily, the show improved tremendously in the second half.

Mike Peterson returned, was blown up, and reanimated as Deathlok, an infamous Marvel antihero. Having a legitimate character from the comics was definitely a step in the right direction, and Peterson's sympathetic character made it that much more convincing. We got some actual answers on Coulson's resurrection, learning he was injected with a drug derived from an alien corpse. An interesting explanation to be sure, but I didn't care about the how so much as the why.  Thank God the following episode, another "Thor" tie-in with Lady Sif, was a real turning point.

While the previous episodes showed me things were improving, this episode felt more like what I wanted the show to be initially. It made up for the first crossover, characterized Sif more than either "Thor" film, and expanded the world of both the show and the larger MCU. Coulson's return was now an engaging mystery, as was the identity of the Clairvoyant, our seemingly psychic main villain who bankrolled Deathlok and a new Extremis program. Then the show outdid itself, catapulting its story from mere tie-ins to full on integration with the MCU.

That would be the last two episodes, where the narrative caught up with "The Winter Soldier" and had our agents deal with SHIELD's internal collapse from HYDRA. The Clairvoyant was Coulson's good friend and Ward's mentor John Garrett, using his high level SHIELD clearance to fake his psychic abilities. He's really an agent of HYDRA, meaning Deathlok and the revived Extremis program (Centipede) were all under the tentacled terrorist group.

This reveal was expertly staged, forcing the agents to wonder who to trust as the agency they've sworn loyalty to crumbles around them. It's especially hard for Coulson, who's resurrection ordeal has already made him doubt his superiors. In the wake of the HYDRA reveal, our agents have become ghosts, going off grid to fight the remaining HYDRA cells. But the biggest surprise is that Ward is also a HYDRA agent, deep undercover to infiltrate Coulson's team. He and Garret raid a recovered SHIELD facility for its advanced weaponry, freeing all the strange objects the team encountered in the season's first half.

Now all those seemingly standalone episodes have a purpose, and everything we have seen so far has been building to something greater. All the doubts I had about the show have gone out the window. Not only do we have a strong story arc to carry the rest of the season, but all the characters are developed enough to actually be likable. They've been put in dangerous situations, had their loyalty tested, and are now struggling for purpose in the wake of SHIELD's collapse. A scene where Coulson breaks down on his team about how their actions still have meaning was heart wrenching, and really sold how emotionally gripping this show has become.

While at first "SHIELD" seemed to do little more than lay out the timeline of Phase II, it's recent actions have emphasized the more downplayed aspects of the movies. If HYDRA could acquire Extremis, they could have been partnered with AIM in "Iron Man 3," explaining why SHIELD didn't step in to help Tony save the President. SHIELD not initially reacting to the Dark Elf attack still doesn't make sense, but in light of the reveal, it could be HYDRA wanted to use the London invasion to further justify Project Insight.

The greatest aspect, however, is Coulson's return. I still don't know the exact reason he came back, but I can now guesstimate why. Fury wanted an inside man if SHIELD went down, so loyal company man Coulson was too valuable to lose. He used Coulson as a test subject for the drug, likely the blood of a fallen alien Kree (as Sif teased). Fury then had May spy on Coulson to ensure the drug worked, while checking for side effects. All the while, Coulson was to never find out, for fear he would be compromised if HYDRA got to him.

This explains HYDRA's interest in Coulson, since a miracle drug would be invaluable to any superhuman army. It's only a theory, but at least I have something to chew on about Coulson's return. If nothing else, I know the show is confident enough now to keep me invested. Its characters drive the show, even if more supervillains, Coulson's Cellist love, and Fury and Hill cameos are on the horizon."Agents of SHIELD" now feels like a worthy addition to the MCU. It not only fills in the gaps and adds to the universe, but it shows how normal people cope in a world of heroes and monsters.

The recent ratings may call into question the show's renewal, but there's always future One Shots if loose ends need wrapping up. Whatever the show's future, I can't wait to see what adventures are waiting for Coulson and his band of misfits. The Marvel Cinematic Universe is as confident as ever, and now that their first foray into TV is working, I can calmly look forward to every other upcoming MCU project, TV or otherwise.

Captain America: The Winter Soldier Review

You'd forgive me for being a little stunned at "Captain America: The Winter Soldier." Even four days after seeing this film, I'm still in awe of it. Captain America, that star-spangled Avenger from the '40s, produced one of the greatest superhero films in recent memory. That alone is kind of hard to grasp. I've read the amazing comic book arc by Ed Brubaker the film is based on. I knew the potential was there. But I didn't think it would translate to film THIS well. Yes, a lot of changes were made, but the core themes were kept intact.

But I'm not really here to talk about how well this translated a comic book. I'm here to comment on how good of a film this is. Despite the presence of superheroes, this feels like a straight up political thriller, just as "The Dark Knight" was a crime drama with a guy in a cape. This has to be one of the most meticulously plotted films in Marvel's film canon. I'd even say in terms of story, it's the most intelligent. And all that on top of being an action packed thrill ride and emotional character piece.

So why is it so good? Simply, it's that the film embraces how Steve would react to our modern society. He doesn't freak out over the advances in technology, or the changes in pop culture. No, what's so great is that Steve sticks to his black-and-white ideals in a world defined by shades of grey. He joins SHIELD thinking he's doing the right thing. But after an attempt on Nick Fury's life, Steve is told to trust no one, and a conspiracy involving a corrupted SHIELD comes to light. Steve goes rogue to uncover the conspiracy, but all the while his morals never waiver. It's a great set up, recalling the conspiracy thrillers of the '70s, and indeed the first half of the film is more this than a superhero movie. And it's all the better for it.

The action here is a lot grittier and more realistic than previous MCU films. Cap is fighting terrorists armed with grenades, knives and machine guns, not super Nazis or aliens with energy weapons. Those are all well and good, but the action here definitely cements the film in reality. Every action scene felt like something out of a Bourne film, at least until the climax, where the superhero element reasserts itself and the CG budget is on full display. But thankfully, the shift from gritty action movie and political thriller to high-flying superheroics is never jarring, unlike, say, the third act of "The Wolverine." It's all expertly staged and massively entertaining, with action that rivals that of "The Avengers" and the first "Iron Man."

But this is much more than just a solid action movie. The conspiracy elements make for an ingenious plot, wherein HYDRA reforms after WWII within SHIELD to shape the post-war political landscape. This culminates in Project Insight, the deployment of three remote controlled Helicarriers programmed to take out thousands of pre-determined threats to HYDRA.

The threats are predicted by an algorithm made by Arnim Zola, still alive thanks to his mind being uploaded into a computer. It's a nice compromise from his robotic body of the comics, and suitably creepy when Zola does show up. What's really creepy, however, is the parallels to our post 9/11 surveillance state, which the film is clearly a commentary on. It adds a degree of relevance to the film, giving it an extra layer to chew on amid all the superhero battles.

More than anything, this plot gives us a chance to really focus on the characters. At its heart, "The Winter Soldier" is a character piece. Steve's ideals are shown to be unshakable, even when the world around him isn't. His heartbreaking scene with an older Peggy tragically shows what he's lost to time. His fast but sincere friendship with Sam Wilson, aka the Falcon, shows how easily he can bond with others. His exchanges with Nick Fury and Black Widow put his ideals front and center, contrasting with the shifting Widow and paranoid Fury.

Both characters are given much more to work with here, as we learn more of their pasts and ideologies than ever before. Widow in particular has cemented herself as the MCU's strongest female character, clearly worthy of a solo film. Falcon is also a solid addition, bringing levity to an otherwise serious film. His wing suit led to some exhilarating action scenes, and his character is just so fun that it'd be a shame if he doesn't become an Avenger.

Steve's interactions with the villains are also fantastic. In addition to Zola, we get Batroc the Leaper, an origin for Crossbones, and Robert Redford as Alexander Pierce. He's a bit character in the comics, but here he's re-imagined as the head of both the World Security Council and HYDRA. Redford is fantastic, as befitting a living screen legend, since he actually makes HYDRA's goals seem admirable. Batroc and Crossbones have small roles, but are nonetheless memorable and square off in some of the film's best action scenes. Of course, they're just small potatoes compared to the titular villain. The one I've been anticipating since reading the comics and seeing the first film: The Winter Soldier.

Just as I thought, Bucky's fall in "The First Avenger" was a lead-in to him becoming the Soldier. It turns out Zola and HYDRA got to him, and are responsible for his brainwashing and subsequent assassination missions throughout the century. Sebastian Stan is perfect in the role. The Winter Soldier is a complete badass, squaring off with Steve in some absolutely brutal fight scenes.

What Stan really nailed with Bucky though, was his reluctance to fight Steve once his memories began returning. You could see the hesitance in him, the lingering doubt that he once knew the man he's been ordered to kill. Bucky pulls all this off with facial expressions alone, showing the anguish he's going through. A well-placed flashback helps cement the bond Bucky and Steve once shared, so Steve's reaction and subsequent attempts to save his friend feel genuine. The twist has the impact it should, even if comic fans like me called it from a mile away.

If there is any real flaw in the film, it's that for one of the title characters, Bucky shows up very little. He's in four action scenes spread throughout the film, but since the revelation comes towards the end, Bucky's redemption is sidelined in favor of the larger HYDRA plot. It feels more like a subplot rather than the main plot, which would have made the film even more personal if given more focus. However, Cap's final confrontation with Bucky does serve as a thrilling climax, so it's still given the emphasis it needs to work.

Since Bucky's story is open-ended, along with the fate of numerous SHIELD agents now out of a job, the story does end on somewhat of a cliffhanger. But while this helps set up both "Avengers 2" and "Captain America 3", the story here does have an air of completeness to it. Cap helped bring down the corrupt SHIELD, Alexander Pierce is dead, and Cap and Falcon have a new mission. There's the sense of both an ending and a new beginning, so ultimately the film has a standalone quality to it. Unlike the glorified filler episode that was "Iron Man 2", this film's events have actual weight to them. And unlike the super standalone "Iron Man 3", this film doesn't exist in a bubble.

What happens here will have huge ramifications for the MCU. When the Avengers reunite for "Age of Ultron", they won't have SHIELD backing them. When future solo films come out, we won't have to wonder about why SHIELD isn't interfering. But those aren't the only ramifications. One of the end credits scenes confirmed Bucky remembers who he is. That's great for "Cap 3" and all, but the other scene sets up something far more interesting.

HYDRA is still alive, now run by Baron Von Strucker. A villain who happens to posses both Loki's staff, and Quicksilver and the Scarlet Witch. The scene was a great reveal for the Twins and an awesome "Ultron" set-up, but what I really loved was what it implies for future films. We are now in the "Age of Miracles", as Strucker puts it. SHIELD is dead, and superhumans are becoming more and more common.

The true miracle, though, is how amazing this film turned out to be. Equal parts action movie, conspiracy thriller, superhero spectacle, and character drama, "Captain America: The Winter Soldier" is an exceptional entry in the Marvel canon. Not only does it out-do its predecessor, but it's easily the best Phase II film so far. I'd tie it with the first "Iron Man" and "The Avengers" as my favorite of the Marvel films, easily above everything else. It's not an exaggeration; this film is THAT good.

I may have subjected every MCU film to my meticulous reviewing, but there's still one aspect I haven't covered. Tomorrow I shall review "Agents of SHIELD", plus the more recent One Shots, to see their effect on this growing universe. Until then, I can rest easy knowing the MCU is in great hands. The good Captain made sure of that.

Return of the Retro Review: Thor: The Dark World

I've said this many, many times in past rants, but I haven't been very good at updating. School, work, and life in general tends to get in the way. Which is a shame, because there is so much to comment on in the nerd world, and there's no time for one lonely blogger to review all of it. But as of late, I'm going to try harder to update more often. I hope to have a new rant up every day for the next week, to fully capture all the aspects of the nerd world I wish to rant about. My first order of business: the Marvel Cinematic Universe keeps on expanding.

But before I tackle the more recent expansions, I need to rectify a mistake. I never got around to properly reviewing "Thor: The Dark World." Yes, I've commented on it in other articles, and even ranked it in my list of 2013 films. But that doesn't count as an in-depth review. And since I haven't actually done a full blown review of just one film in some time, I think this is as good a film as any. And since I've seen it multiple times well beyond the theatrical release date, this rant marks the return of my Retro Review series I started with my Marvel Phase I marathon.

When I first saw "Thor 2" in theaters, I found it enjoyable. Coming out of the theater, all I could think about was the first post-credits scene, where the films' MacGuffin, the Aether, was given to the Collector (from the upcoming "Guardians of the Galaxy") for safe-keeping. This same scene revealed that both the Aether and the Tesseract were Infinity Gems, finally confirming that the Infinity Gauntlet story arc with Thanos was the end game for the MCU Phases. It was an exciting prospect, to be sure. And for providing a crucial element to the ever-expanding MCU, this film has my gratitude. But aside from this promising set-up scene and some brilliant moments from the cast, repeat viewings made me see that "Thor: The Dark World" was an otherwise weak link in the MCU chain.

Now before I tear into the film, let me start with the positives. Like in the first "Thor" and "The Avengers", the greatest strength here is the relationship between Chris Hemsworth's Thor and Tom Hiddleston's Loki. Both are superb actors, Hiddleston in particular, and their time together is extraordinarily entertaining. In fact, any scene with just Loki is a treat to watch. Loki's scenes with Odin and Frigga, his brief asides with Jane, Sif, and Volstagg, and his "betrayal" of Thor to Malekith are all expertly staged.

It's truly amazing when you realize that the "Thor" and "Avengers" films have just as much character development for Loki as they do for Thor, but it makes sense once you realize their conflict forms the heart of the franchise. Their intense sibling rivalry grounds an otherwise out-of-this-world sci-fi franchise, making these "gods" feel all too human.

Not that the out-of-this-world elements are a detriment. Indeed, the mythology of the Nine Realms is what makes the "Thor" films significant from the other MCU entries. This film does explore that mythology more in-depth. The mystical Convergence bringing the Realms together was an interesting concept, if somewhat contrived, but it does make for one hell of a climax at the end when Thor portal hops through multiple realms.

Getting to spend more time in Asgard was of course a treat, since the Asgard scenes were without a doubt the best part of the first movie. Getting the director of several "Game of Thrones" episodes was a smart move, since Asgard has a more Viking feel here. It also feels more lived in, and we see more of Asgardian culture. Frigga's funeral scene was especially touching, not just for showing Asgardian funeral practices but also that it felt genuinely emotional for the characters.

Unfortunately, it's the scene that followed that highlights one of two major problems I had with this film. After the incredibly somber funeral scene, we jump to Earth to see Erik Selvig explaining his Convergence theory to mental patients. It's meant to be played for laughs, but comes off as painfully forced and tonally jarring after what we just witnessed. Jane, Erik, and Darcy all return here, and are joined by a new intern, Ian, who has no character and does absolutely nothing.

Now after Erik's expanded role in "The Avengers" and the cliffhanger with Jane at the end of "Thor", it makes sense to return to these characters. But when they are re-introduced, they aren't really given anything meaningful to do until the climax. Erik spends his time in a mental ward, Darcy and Ian just run around, and Jane gets to go to Asgard only to fall unconscious due to Aether possession.

I found myself not caring for any of these people, after realizing they ceased being interesting or even necessary following the first "Thor." The reason is simple. Thor's arc in the first film revolved around him coming to Earth. Meeting these people helped him become invested in humanity so he could learn humility. Plus, the humans had more of a point since they provided a contrast to Thor, who spent a good chunk of the film on Earth.

This time around, only Jane spends a significant time with Thor. The other humans hang out on Earth, but without an Asgardian there to bounce off of, their comic relief is completely unnecessary to advance the plot. I found myself questioning why we were cutting back to Earth when literally all the action was on other realms. The filmmakers had a good idea to bring Jane to Asgard. But instead of possibly exploring how she'd be a fish out of water in Thor's world, she acts like a damsel in distress and then a human MacGuffin for the rest of the film. And that's not even mentioning that she and Thor still have no chemistry together, making theirs the absolute worst romance in the MCU thus far. Sorry, Natalie Portman, but you really need to leave.

Basically, there is no real need for the humans to have this much screen time in the sequel. They helped ground Thor and his mythology in the first film, but now that everything's established, the Nine Realms and the Thor-Loki relationship is far more interesting and relatable than any of the human characters. I didn't even notice Jane unconscious for the second half, because at that point Loki was sprung from jail and his and Thor's rivalry made the film fun again. Case in point: I nearly died of laughter at Loki turning into Captain America. THAT'S how you do comic relief, Marvel.

But this also brings up my other big complaint. As great as the Thor-Loki relationship is, it completely overshadows the main conflict of the film. Marvel potentially had a great set up here with Malekith, Kurse, and the Dark Elves. The Elves themselves were super creepy, while Malekith and Kurse looked incredible. I want to give props to Kurse in particular, since not only did he have a great look, but his fight scenes with Thor were absolutely brutal and incredibly entertaining.

The problem, then, is Malekith himself. Like Mickey Rourke's Whiplash in "Iron Man 2", Marvel hired a top notch actor in Christopher Eccleston to bring a fan favorite villain to life. But Malekith is the franchise's most generic super villain yet, and it's baffling why they wanted Eccleston in the first place. Malekith's plan is to bond with the Aether and unleash it on the Nine Realms using the Convergence, thereby plunging the universe into eternal darkness. Ok, that's pretty ambitious. But the film forgets to explain WHY Malekith wants this. They boil his motivation down to "I'm evil, death to the universe!" and leave it at that.

He doesn't have the on-screen charisma or the tragic history of Loki, so Malekith comes off as your typical villain of the week instead of this potentially universe-ending threat. Since his plan has no real stakes, it doesn't justify Thor and Loki joining forces. As such, the basic premise of the film has no weight, since the circumstances behind Thor and Loki's reconciliation is forced. Again, it helps that Hemsworth and Hiddleston are great together on screen, but if their reason for being together is too shallow, then there's no gravity to the situation. Ironic, considering part of the plot involves massive reality shifts and the laws of gravity going out the window.

So despite some entertaining action scenes and performances, "Thor: The Dark World" ultimately feels too hollow to really work as a film. It does have the saving grace of ending on an awesome cliff hanger, I'll admit. Loki disguising himself as Odin, while Thor abdicates the throne to be on Earth with Jane, is a very interesting place to leave off with. And despite the clear set-up for "Thor 3", "Guardians" and the "Infinity Gauntlet", this film still tried to tell its own story. That alone puts it ahead of "Iron Man 2", but not by much.

After some thinking, I believe that the first "Thor" is actually superior to this one, for at least having a purpose for the Earth scenes and making Thor's world seem plausible. I'm not saying that I hate this film, or that it's the "Phantom Menace" of the MCU. It's still an enjoyable enough entry in the canon, bolstered largely by Hiddleston's infinite charisma as Loki. But I felt the flaws here were too large to overlook, hence this harsher review.

In terms of rank, I'd put "Thor 2" as the second worst film, beaten only by "Iron Man 2". I appreciate what this film sets up for the larger MCU canon, but it's the equivalent of a subpar issue in an otherwise fantastic ongoing comic series. You may enjoy initially reading it, and it's needed for the overall story, but there's nothing here that really stands out. I only hope that when we reach the inevitable "Thor 3", we'll have dropped the human characters, focused more on the Thor-Loki rivalry, and have a plot with actual stakes that doesn't rely on Earth as a crutch. I'd recommend introducing Surtur and adapting the Ragnarok story arc, but that's just the ramblings of a lowly comic nerd.

Also, it'd help if the other Asgardians actually got some screen time, something that hasn't been corrected from the first film. Heimdall's still a badass, and actually gets a cool action bit here, but it's something else that needs to change. Anyone would be forgiven for thinking that "Thor 2" signals the MCU going stale. Luckily, a time-lost super soldier proved them (and me) dead wrong. "Captain America: The Winter Soldier" hit theaters last Friday, and now that I've seen it (and caught up with the MCU with this review), I'm ready to give my full analysis on the latest entry in the Marvel film canon.

How to Put Magic into the Harry Potter Spinoffs

Yes, it's amazing! I'm actually writing more rants within days of each other! This one concerns a subject that's very dear to me. I've made no attempt to hide my love of "Harry Potter" in the past, but I've never actually dedicated a full rant to it. I think now is the proper time, given the recent announcement that J.K. Rowling's "Fantastic Beasts and Where to Find Them" adaptation will be turned into a trilogy. Now while I think the tale of Newt Scamander, the world's foremost magizoologist (that's someone who studies magical creatures for you muggles) could make for an interesting film, I highly doubt you'd be able to milk a trilogy out of it.

"The Hobbit" is barely working as a trilogy, so why would this? The thing is, Harry Potter himself had a wonderful character arc that could be carried across eight films. Newt doesn't have that, even if Rowling is writing the screenplay and has all the details mapped out in her head. But if WB truly wants to create a series of "Harry Potter" spinoffs that make the Wizarding World into a shared universe, then allow me to map out that universe for them. Who better to resurrect the "Potter" franchise and make it worthy competition for "The Avengers" and "Star Wars" then a die-hard Potter fan?

But I'm getting ahead of myself. Let's say that WB wants eight more films, to mirror the eight Potter films they already have. Ludicrous, you might say. And normally I'd agree with you. But luckily, the "Harry Potter" books are so packed with detail, that you could actually mine another eight films out of them, and Rowling could still write the screenplays if she wanted to better map out the stories. Here is my proposal for an eight-part spinoff franchise to "Harry Potter." Not all of them are tightly connected, the only thread being a shared universe in the Wizarding Wold. The main Potter series already provides all the connective tissue needed.

1. Fantastic Beasts and Where to Find Them- so believe it or not, I'm actually on board with the trilogy idea. But not the idea of "Fantastic Beasts" taking up all three films. "Beasts" should be the first of this trilogy, and like the description Rowling gave, should be about Newt Scamander traveling the world studying magical creatures. I like the idea of him starting in New York 70 years before Harry's journey. We actually haven't explored the Wizarding World of America yet, and to see that unfold could be incredibly cinematic. But we shouldn't linger there too long. For Newt, his journey should involve traveling around the world to seek out the rarest of all magical creatures.

I could see him backpacking through Europe to find rare dragon species in the mountains, or scrounging the forests for his mysterious Crumple-Horned Snorkack. In fact, since Rowling said Newt's grandson ultimately marries Luna Lovegood, maybe the film should open with the two of them, with Rolf Scamander then telling Luna about his grandfather's life. It'd automatically provide some nice connective tissue without shoving in too many cameos from the main series, and give us a reason to care about Newt's exploits. I think Newt's search for one elusive creature should be the driving force for the film, fueling his obsession as he travels the world. All the while, he's gathering information on other creatures and begins work on his book, which becomes a standard Hogwarts textbook later on. It'd be a lighter story set in the Wizarding World, but if this is truly to become a film, those are my wishes for it.

2. Quidditch Through the Ages- my idea for the loose trilogy that forms the first three of my eight films is to base each installment off of one of Rowling's spinoff books. As such, the next film would be "Quidditch Through the Ages." Now since the book in question basically covers the history of the sport and the different teams, a narrative will have to be invented. I don't think exploring the actual history would make for an exciting film. But Quidditch was always one of the most exciting things about the books, and the few matches that made it into the films were expertly staged.

Since the latter half of the film series cut out the Quidditch matches, it'd be cool to actually devote a whole film to them. I would simply treat the film as a magical sports drama. Focus on one of the big Quidditch teams, like Ron's favorite the Chudly Cannons or the Hollyhead Harpies. Have a main character, who's read the original book and loves the sport, sign up with the team and go through several matches to work their way up to the Quidditch World Cup. It's your basic sports film, yeah, but I think the Quidditch aspect, itself iconic in the "Potter" franchise, would make it unique enough that people would get behind it. I know I would.

3. The Tales of Beedle the Bard- the third and final spinoff book rounds out the first trilogy of my eight-part plan. Now this one is a little more difficult to pull off as a full-length film. I'd approach it kind of like "The Princess Bride", maybe with Harry and Ginny or Ron and Hermione (why not both?) reading the stories to their young children (this'd be before the Deathly Hallows epilogue). Or if not that route, have Mrs. Weasley reading to all the Weasley kids. Either way, once the bedtime story aspect begins, it'd basically turn into an anthology film.

"The Wizard and the Hopping Pot", "Babbity Rabbity and her Cackling Stump", "The Fountain of Fair Fortune", and "The Warlock's Hairy Heart" are all quirky tales that would make for interesting stories in live action, especially since they explore the Middle Ages period of this world. I'd also prefer that each story have its own director, like the "Twilight Zone" movie from the '80s. This way, each segment has its own identity and allows each director to bring their own personal flare to the film. It'd be similar to how the main series was passed between four directors with their own views on the material.

The only real difficulty here is "The Tale of the Three Brothers" since it was already told so brilliantly in "Deathly Hallows Part One" with animation. I'd either recycle that short, or maybe re-do and expand on the tale using live action. If that's the case, the brothers would have to be characterized better and their individual stories given more depth. The Brothers' tale could potentially make for a film unto itself, but I think an expanded take on the animated version we've seen, mixed with all the other stories, would make it unique.

If the frame story was live action and the stories animated, then the anthology parts should adopt the format of "The Animatrix" or "Batman: Gotham Knight" (I wouldn't go the anime route though, maybe one segment tops.) If the stories are being read by the adult versions of our beloved heroes, this could also be a perfect opportunity to explain how the third brother, Ignotus Perverell, is Harry's ancestor, with his Invisiblity Cloak being one of the Deathly Hallows. This is something that the films never got around to explaining, and I think it'd justify the re-telling of the tale and reinforce how significant it is to Harry's history.

4. Hogwarts: A History- this is just a tentative title (not all of my proposed films are based on magical textbooks), but this does explain my intentions with this film. I'd like to explore the fascinating time period of the Hogwarts' Founders. This not only provides a proper origin tale for the beloved school, but also can be an intense character drama focusing on the relationships between the Founders. Seeing Godric Gryffindor obtain his sword, Helga Hufflepuff her cup, and Rowena Ravenclaw her diadem would be great, if only to emphasize how the cup and diadem will one day become Horcruxes.

Slytherin, of course, would have his locket and ring, which he ingrained with the Resurrection Stone. All of that, of course, is just in the background. The main story is how the Four Founders met and started the school, and how Slytherin fell out with them. Slytherin really needs to show off his anti-Muggle/Mudblood beliefs, and how this drives him to leave the school and build the Chamber of Secrets beneath it. This provides so much set up for the conflict to come in the main series, but could serve as a standalone drama in its own right. There'd be a few time jumps to show the creation of the school and Slytherin's falling out, but I still think it could work as one tight film.

5. The Life and Lies of Albus Dumbledore- seriously, I'm not intending for them all to be based on fictional books. Think of these as tentative titles. Either way, I would like to devote an entire film to Dumbledore, if only because the "Deathly Hallows" films kind of glossed over his backstory. The final book weaved a fascinating backstory for Albus, including his relationships with his siblings and his friend Gellert Grindewald. The film could brush on Albus's feelings for Grindewald, maybe imply they have something, but it doesn't have to be in-your-face about it in case people get offended. Personally, I'd like to explore how the two had a relationship that was more than friends, so it's more tragic when Grindewald becomes a Dark Wizard.

An extensive prologue (or maybe interspersed flashbacks) would show Albus's childhood, including his father killing three muggle boys who traumatized Ariana and caused her to lose control of her magic. One of Ariana's magical rages kills their mother, leaving Albus in charge of Ariana and Aberforth. Albus then meets Grindelwald, and they start obsessing over the Deathly Hallows. This search intensifies when a duel between Albus, Grindelwald, and Aberforth leads to Ariana's death. Albus would then obsess over finding the Deathly Hallows, especially the Resurrection Stone so he could apologize to Ariana.

Their quest for the Hallows seems fruitless, until Grindewald manages to locate and steal the Elder Wand. He then uses it to become a major Dark Wizard, and influences World War II. The climax of the film would be Dumbledore dueling Grindelwald and winning the Elder Wand. His career as a Hogwarts teacher could be mentioned, but I don't want it to take up the main story. I think his personal life and relationship with Grindelwald and his siblings is all that's needed, since it turns Albus into a flawed character who is easily relatable.

6. Magicke Most Evil- ok, another book title. I guess the titles just fit the stories I want to tell. This book is the one that Tom Riddle sought out for information about Horcruxes. Basically, this film is to be the dark mirror to Dumbledore's film, by acting as a biopic for Voldemort. While the "Chamber of Secrets" and "Half-Blood Prince" went into Riddle's childhood, I'd like to explore more of the "Half-Blood Prince" flashbacks that were cut from the movie, as well as Riddle's first steps toward becoming Voldemort, his first Horcruxes, and the formation of the Death Eaters and the start of the first Wizarding War. Not only would the film cover all the "Prince" flashbacks, but include the actual first conflicts of the War, to show Voldemort gaining power and earning his reputation as the most feared Dark Wizard of all time.

The film would not end with Voldemort seeking out the Potters, but instead show the first Wizarding War beginning, as fear over Riddle's power spreads worldwide. While Tom is obviously supposed to be an evil person who we can't root for, I think if the Founders' film works out with Slytherin, you could show just how similar Riddle is to his ancestor, and get into his motivations for doing what he does. If nothing else, the film could be structured around Dumbledore collecting memories for the Pensieve as the First War begins, or maybe have the film take place from the perspective of one of Voldemort's followers as he learns of his master's past and rise to power. Either way, there's a lot of potential for a neat story here.

7. The Marauders- told you they weren't all titled off books! This one is, obviously, based on the Marauders. It will actually be the first of a two-parter focusing on James, Lilly, Remus, Sirius, Peter, and Snape during their Hogwarts careers. It would have more of Snape and Lilly meeting as kids, but a lot on James befriending Sirius, Remus, and Peter. The film would have several time jumps to cover their entire seven-year career, because let's face it, despite their hilarious hijinks, the Marauders' years weren't as interesting as Harry's. However, this will give an opportunity to compare James's time at school with Harry's, to see how similar and different they were.

What I would focus on is the love triangle between James, Lilly, and Snape. However, Sirius's relationship with his family (and brother Regulus) and Remus's coping with his werewolf condition would also be major subplots. A good chunk of the film would be devoted to the four making the Marauder's Map and becoming Animagi to accompany Remus, and the pranks they pull on the student body. The incident described in the "Azkaban" book with the prank pulled on Snape would be included, and it would also expand on James's bullying of Snape, including the incident in their fifth year that Harry briefly saw in the film (it'd play out in full like in the books, including the aftermath where Lilly confronts Snape). Snape's growing fascination with the Dark Arts will also be highlighted, including his adopting of the "Half-Blood Prince" persona.

Ultimately, after Snape's falling out with Lilly, the rest of the film would focus on James courting Lilly and them becoming a couple, before they all graduate (an event we never really get to see with Harry, so I'd love to see how the ceremony works). This film would also run concurrently with the back end of the Voldemort film, with his rise to power as another subplot. This would only be alluded to, since the focus is on the relationships between the Marauders. To make the Voldemort plot more relevant, it may be a good idea to have Snape consider joining the cause, with a final (short) duel between him and James right before or after graduation. I'd almost compare this film tonally with  the darker yet still comedic antics of "Half Blood Prince", but the segments when they're kids will obviously mirror the child-like tone of the first few films.

8. The Wizarding War- my final film will explain the rest of the First Wizarding War, having seen it's beginnings in the Voldemort film. I think a good opening scene would be the events described in Rowling's prequel short story, where a muggle policeman witnesses James and Sirius battling Death Eaters. We'd see Dumbledore forming the Order of the Phoenix, as well as the circumstances behind Snape, Peter, and Regulus joining the Death Eaters. Bellatrix Lestrange and Barty Crouch's torturing of the Longbottoms would be a major turning point of the film.

Another big scene would be Snape eavesdropping on Dumbledore and Trelawney's meeting where the Prophecy is first made. This will of course lead to Voldemort seeking out the Potters, and Snape to defect to the Order. The Potters will go into hiding, and Peter will betray their location to Voldemort. We will get to see Voldemort actually killing the Potters and Harry getting scarred. Regulus stealing Voldemort's locket Horcrux and dying in the cave will also be included. The film would end with Sirius confronting Peter, who blows up the street to cover his transformation into Scabbers. Sirius is sent to Azkaban, and the world lies in wait for young Harry Potter to come of age, while celebrating Voldemort's supposed defeat.

Now before I end this rant, you're probably wondering why I don't suggest a film describing the lives of an adult Harry, Ron, and Hermione, or the adventures of their kids as they go to Hogwarts. Quite frankly, it's because I don't think there's an interesting story there. The epilogue was enough of a look into Harry's post-Hogwarts life. If I were to revisit that in the "Tales of Beedle the Bard" film, it'd only be as Harry telling stories to his kids. Once Voldemort is killed, the story ends.

The great thing about the films I've outlined is that, barring "Beasts" and "Quidditch" (probably the only true spin-offs), they're all connected, and introduce plot threads that are concluded in the main series. But these films all come with their own standalone narratives and cast of characters. Plus, they'd satisfy those die hard fans (like myself) who were annoyed at all the subplots and backstory that was cut out of the main series' adaptations. "Beedle the Bard's" expansion of the Three Brothers feeds into the Founders, Dumbledore, and Voldemort films, which in turn feeds into the Marauders' films, which then culminates in the main series.

"Beasts" and "Quidditch" are just there to act as fun romps through different parts of the Wizarding World, to warm audiences up to the idea of exploring parts of this world without Harry. At the end of the day, this spinoff franchise would satisfy all the Potter fanatics while reaping huge rewards for WB, while also capitalizing on the shared universe model that's now so popular. And speaking of shared universes, expect a lot of rants about the MCU coming soon. I plan on properly reviewing "Thor: The Dark World" and "Agents of SHIELD" before the new "Captain America" comes out, so I can complete my MCU coverage that goes back all the way to when I started this blog. But for now, Mischief Managed.