There Was A Different Idea: An MCU Producer Quest

Well if we followup Thor with Wonder Man, that won't be too hard to beat DC. DC is still gonna need to focus on their main line Superheroes; iirc they still need handle Superman so we should have the time to beat Wonder Woman.
I'm not sure we ought to do that. The movies we've already teased are Thor and Hawkeye. Plus if we release two big films a year and they release two big films a year we could end up with a situation where they release Superman and Wonder Woman in the same year we release Thor and Wonder Man. I kind of want to see how fast DC moves, how they treat female lead superhero movies and how hard they succeed

Like if DC makes 2 superhero movies a year like we seem to be planning to do for Marvel then it becomes a race of about first to 5. If the executives want us to make Iron Man 2 and Hulk 2 before the Avengers (which they might) then we've got bare minimum 5 movies before Avengers and that makes me feel dicey as if DC doesn't make a Batman sequel (which I doubt will happen but I need to be cautious on) then they'll be matching us in pace and directly competing in big crossover movies.

Add in a standalone Wonder Man film and we'll almost certainly be after them if they set a two movie a year pace and do not do any sequels.
Also, a more competent DC probably introduces Wonder Woman before Superman. Wonder Woman has been out of the public conscious as a movie for longer, works a lot more cleanly in grittier settings like the DCEU wants to be and better links up with Batman as the centerpiece of the universe. At the very least, I wouldn't expect a competent DC to be waiting until 2017 to release a WW film.
I mean yeah but just like how Marvel executives had weird things with female characters DC characters might as well. I'm not going to bank on them doing anything so I'd like plans to remain flexible so that we can respond to what they do.
It's a very minor note, but changing his name's styling from Wonder Man to Wonderman might help a bit with moving the brand away.
It might help. I'm not a marketing person so I don't know how much it would help but I think we might be better served rebranding Wonder Man as like Ion or Ionic or something to get away from it if we are placed into the position of having Wonder Woman come out first.

Edit: Maybe Spectrum might work? I don't know but I think we should try and workshop some ideas.
Which reminds me... is Man of Steel the next try IRL or Superman Returns? Can't recall if SR already came out - my brain is saying 2006.
Man of Steel. SR was 2006.
 
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This is what I'm thinking on doing as a plan that involves including Wonder Man and I'd like to know if you're fine with it.

Sounds good.

One thing as Guiding Bolt pointed out they might make a Wonder Woman movie sooner rather than later. Should we have Thor be 3rd and Wonder Man 4th (As either a solo movie or as Iron Man 2)?

I feel like we could tweak my initial pitch with the actor stuff to make it more Iron Man centric while still feeling like a proper introduction for Wonder Man.

Edit:

I think this could be good to solve our problem of needing information, and could tell us whether we can do a solo Wonder Man movie or not 4th.

[X] Plan Marvel vs DC
-[X] Universal is willing to make the deal, now you need to convince the Marvel Execs (Negotiation Roll with Marvel)
-[X] Network in Hollywood for Writers (Roll)
-[X] Investigate a bit, see what your competition is up to (Roll)
--[x] Warner Studios
 
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One thing as Guiding Bolt pointed out they might make a Wonder Woman movie sooner rather than later. Should we have Thor be 3rd and Wonder Man 4th (As either a solo movie or as Iron Man 2)?

I feel like we could tweak my initial pitch with the actor stuff to make it more Iron Man centric while still feeling like a proper introduction for Wonder Man.
I want to get a sense for DC's speed of movie output first. If DC puts out two movies in one year then I don't think we have time for a solo Wonder Man movie and we've already committed to Hawkeye. I'd rather place Wonder Man tentatively fifth so we can see whether or not we can afford to give him a solo movie or not and make the right judgement call there.

If you want to operate under the assumption that whatever Wonder Man movie we make is going to be pulling double duty as an Iron Man sequel no matter what then I have no problem including it fourth but otherwise I'd like to leave it fifth so we can get a sense of what's going on at DC and adjust to compensate.

Edit: My somewhat malleable plan is as follows
  1. Get the movies we're dead set committed to (Thor and Hawkeye) out of the way, foreshadow Wonder Man and Captain America so that we can get those movies out of the way and potentially pull the trigger on Avengers by 2011
  2. See how DC moves in 2009 and how many movies they make and how well they are received, potentially burn an action on investigating if Wonder Woman or a Batman movie is up to speed
  3. See what the purchase situation is
  4. Adjust as necessary
 
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We can also take the investigation action to find that out now vs waiting for a year of movie productions.
We could but it's not critical to us. We have two movies we're locked into that we probably should get done in 2009 regardless of what DC does. I'd rather make those movies as good as they could possibly be since we've already got a timeframe we want to get them in. We'll get the information of how many movies DC releases in a year for free so I'd rather concentrate on making sure our two movies are as good as possible.

I'd rather do the investigation once we've knocked out the things we have to do so that we can adjust more flexibly. Let's gather information for free while making us as strong as possible before we try to outplay DC. Let them react to and try to play catch up with us for now rather than the other way around.

Edit: Plus I'll be totally honest I don't think Wonder Man's a big enough name that sacrificing the name (not the character) isn't a cost we can't bear. Especially not if DC is fast enough that we have to make the call to not give him his own solo movie.
 
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Edit: My somewhat malleable plan is as follows
  1. Get the movies we're dead set committed to (Thor and Hawkeye) out of the way, foreshadow Wonder Man and Captain America so that we can get those movies out of the way and potentially pull the trigger on Avengers by 2011
  2. See how DC moves in 2009 and how many movies they make and how well they are received, potentially burn an action on investigating if Wonder Woman or a Batman movie is up to speed
  3. See what the purchase situation is
  4. Adjust as necessary
This seems like it hinges on Marvel executives agreeing with it, which might be hard if we don't network with them this turn.
 
This seems like it hinges on Marvel executives agreeing with it, which might be hard if we don't network with them this turn.
I mean I don't particularly think so? I doubt Marvel executives are going to fight us on including Captain America in a stinger and if they disagree with us like they did with the Jennifer Walters post-credits scene then we cut the Wonder Man post-credits scene for straight up Iron Man 2 hints and include Wonder Man in anyways.

I do want to network with whoever the big boss is next turn once we get a sense of if we get bought out or not but I don't think anything in this plan is particularly dependent on the executives not signing off on something they've already signed off on.

Edit: What I mean by "seeing the purchase situation" is that we wait and see if anyone purchases us like how Marvel was acquired in the OTL at about this point in time and then network with whoever seems to be the boss going forward whether that be Marvel, Universal, Disney or any other group. I don't care who or what buys us since it's out of our control anyways and I'd rather just invest time in getting the people who are in charge to like us after we've got our bases covered on movie quality and we've got some idea who they might be.
 
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I meant on the part of us doing a minimal amount of sequels.
Not really in my opinion. Foreshadowing Wonder Man is potentially foreshadowing Iron Man 2 so we're good on that front for now at least. I don't think that Marvel was incredibly in love with sequels in the OTL and I don't think Hulk performed so incredibly that they want him to get a sequel immediately as well but if they also demand a Hulk 2 before Avengers we can grandfather in Captain America if we're low on time (if we want to draw on the Ultimate Comics stuff, we could potentially have what makes the Abomination be a knock off super soldier serum or tie the serum into Hulk's transformation) or Wasp if DC isn't murdering us in pace.

I don't want them to make us do Iron Man 2 and Hulk 2 but I do have backup plans for if they do that don't invalidate the core plan. If they make us do more than 2 sequels then we might have a problem but it feels a little unrealistic that they'd want nothing but sequels and DC wants no sequels at all. Like it's to the point where we were likely screwed no matter what if the executives force us to do that even after we take a turn (next turn) to try and get on side.

Right now my chief concern is to just make a good solid core of movies that we can flexibly move around from and alter plans with them as the base.
 
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I think it would be much easier to get a potentially renamed Wonder Man, his own movie, than Wasp, and I think introducing one in Iron Man 2, and the other in Avengers could get tricky. Though I think its really about what we want the Avengers movie to be about? Who is the enemy, what is the big enemy we are working towards will it be Thanos and the Inifinity Stones like in our timeline, or a different big bad and different connecting point, Avengers is going to be the first big step towards wherever we are headed so while we have time in world it feels like a good time to debate what threat are we working towards?

Additionally I don't think we should be planning to do more than 4 phases for our Thanos type threat, our actors no matter how much they end up liking us and the gig will want out to do stuff eventually, and that one plan I read long ago in here about 1 infinity stone per phase until Thanos does not sound sustainable.

Potential Wonder Man Rename: Iconic (Small play on Ionic, and if we go with the Actor background could be kinda fun)
 
If we're doing Wonderman, I'd like to try and tackle Jericho Drumm/Brother Voodoo at some point as well. They have some good crossover stories.
 
Though I think its really about what we want the Avengers movie to be about? Who is the enemy, what is the big enemy we are working towards will it be Thanos and the Inifinity Stones like in our timeline, or a different big bad and different connecting point, Avengers is going to be the first big step towards wherever we are headed so while we have time in world it feels like a good time to debate what threat are we working towards?
I think it's kind of boring and it's not the most interesting idea for us out of universe but I think that we're best off using Thanos and the Infinity Stones like OTL. We already have a general idea of how to make a cinematic universe that's tied together by the plot rocks and Thanos so I think we're just safest going for something that gives us a solid framework that we know can work so we don't have to improvise everything under fire while also outdoing the competition. It's easier for us to work with what we know somewhat instead of having to invent everything on the spot since we've always got the fallback of "what did OTL do" even if we don't have to (and shouldn't stick with it) as a safety net.

With Thanos and the Infinity Stones there are very clear ways to tie movies together to the bigger picture and easy ways to drive the greater narrative arc forward regardless of the individual circumstances.

As for the little enemy, I'd like Loki (because he's iconic as the guy who brought the Avengers together) and the Kree potentially with the Supreme Intelligence as well (cause I like the weird sci-fi alien space stuff in Marvel comics).
 
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"All Washed Up" by DaOneInDaCorner
All Washed Up



Hayden took in a deep breath, standing up straight and allowing himself a moment of rest as he dusted his hands and after doing so, placing the backside of his hand against his forehead to wipe the sweat away. The sun was nice and bright, even in this early October weather, the young actor smiling at the work he'd accomplished. The twenty-seven year old man had bought the farm last year, almost on a whim - to sate a long made desire to own his own piece of the land away from everyone else. It was nice, peaceful, and most importantly it was away from any hecklers. All he'd done was work on the vegetation around his property, and though he'd hired people to handle the tasks for him, it still wasn't the same as doing so himself.


His work was interrupted however, by the sound of a door opening faraway, and the following voice of his girlfriend calling for his name, "Hayden! Work call - Josh says he has something you might like!" Rachel's voice was teasing, and even from the distance, Hayden could see the little smirk on her face. With a roll of the eyes and a quick jog up to the woman, he snatched the phone from her hand, internally bracing himself as Rachel gave a silent 'good luck', before turning and heading back inside.


Following her to avoid the heat, he pressed the phone to his ear, "Josh?" He said into the device, heading into his dining room and plopping onto his couch.


"Hayden, glad I got ahold of you. I think I have something you might like," the man said with excitement in his voice, something that had Hayden immediately on guard. The last time he'd been this excited, it had gotten Hayden a spot as the lead in "Jumper", and that had gone oh so well. Briefly, the man considered that he'd met his now girlfriend through the film, but otherwise the venture had been a total bomb.


"Yeah?" Was his voiced response, rather than speaking his mind - for now - and instead focusing on the potential prospect. "Small time gig or is this a bigger investment?"


"Big, buddy. Real big." The actor took in a deep breath, already feeling the headache. Anakin had been 'big' too. Real big in fact, and it had been the biggest hit to his reputation he'd felt. "Ever seen Iron Man, Hulk? Well… how do you feel about Marvel?"


A beat of silence as Hayden let that process. "Josh," he responded with a hint of exhaustion. "I'm… Marvel is big lately. I don't know how I'd feel about being back in the public eye, we've talked about this." From the other line, he could hear Josh sighing, the mood turning more somber.


"Look, Hayden, I know that things have been rough," at that, the actor couldn't help but let out a bitter chuckle.


"'Rough'? Josh, I don't know if I've made it clear to you, but I can't get groceries without someone mentioning either, A, their thoughts on how much they hate sand, or B, how I ruined their childhood by destroying a franchise they grew up with. It's every day, Josh." The exhaustion had seeped into his voice clearly now, and he sunk into his couch, pressing one hand to his temple as he fought the oncoming headache.


Silence from the other end, before an eventual response. "Hayden, I know it's not easy. But you can't give up that easy - we know you have the talent, and if you don't then know that I do, and as your agent it's up to me to let you know when you're giving up on yourself. This defeatism… I know for a fact you can kill this role."


Hayden took a moment longer before answering back. "What's the role?"


"Wonder Man," he said back, Hayden frowning as he tried to dredge up any recollection.


"That's… isn't that DC? I know Wonder Woman, she's pretty popular, so is he her male counterpart?" That one got a choked laugh from his agent, before he managed to chuckle out an answer.


"No, Wonder Man is Marvel. Not a very well known character from what I've heard, and the casting has been real hush, hush. As far as I know, they haven't even made it known they're looking - I got a buddy in Marvel Studios though, so I pulled a favor."


Feeling a bit offended by the admission, his answer was almost biting, "So where's the incentive in playing someone that nobody even knows about?"


"I mean… Did you know who Iron Man was before this year?" Was the cheeky response, one that had the actor silent, before he gave out a grumbled 'fair point'. "So, why not give it a shot? Consider it your second chance - I know you can do it."


What followed was a much longer silence, as Hayden fought with himself, before he sighed. "Give me a week. I'll have your answer by then." His agent gave back a quick, 'sure, whatever works!' and the call ended.


Tapping his foot, in deep thought now, the young man eventually groaned, before standing and making for his car. A quick drive to the comic store saw him grabbing a single issue from the place. As soon as he got back home, he opened the comic and began to read.

----------------------------

One Week Later

---------------------------

"Hayden, what's up?" Said Josh over the phone, sounding tired, "It's 2 AM, so this better be impor-"


"I'm in," said the young man quietly, his girlfriend deep asleep beside him on their bed. At his bedside table, was a stack of comics, and in his hands, lit by the dim lamp atop his bedside table, was a comic book. "I want to play Wonder Man."

A/N

Normally I run every Omake I make by the QM just to make sure I get canon status, but I really enjoyed writing this so here ya guys go. Hope you like it - I made sure it didn't state that Hayden HAD the role, just that he was interested in it.
 
I liked this. It was nice to read and it broke the threshold of minimum words in order to have an effect one way or another. It wasn't super deep or anything but I think it did a good job of showing Hayden's shift in thoughts and his reluctance both to be in a big production again and for what seems like a nobody role was well handled.
 
I liked this. It was nice to read and it broke the threshold of minimum words in order to have an effect one way or another. It wasn't super deep or anything but I think it did a good job of showing Hayden's shift in thoughts and his reluctance both to be in a big production again and for what seems like a nobody role was well handled.
Fun fact, didn't even know there was an Omake minimum word count until now. Thank you for the praise! I was trying to consider how he'd be feeling so soon after Star Wars and now the failure of Jumper - probably pretty discouraged.

Sure he has a huge fanbase of diehard fans NOW from the recent generation that grew up on the prequels, but in 2008? His audience that are most vocal currently are the Original Trilogy fans and they were not kind to him at all.
 
I think it's kind of boring and it's not the most interesting idea for us out of universe but I think that we're best off using Thanos and the Infinity Stones like OTL. We already have a general idea of how to make a cinematic universe that's tied together by the plot rocks and Thanos so I think we're just safest going for something that gives us a solid framework that we know can work so we don't have to improvise everything under fire while also outdoing the competition. It's easier for us to work with what we know somewhat instead of having to invent everything on the spot since we've always got the fallback of "what did OTL do" even if we don't have to (and shouldn't stick with it) as a safety net.
These are all good points, but I'm not particularly enthused about the idea of just doing the Infinity Saga again. I'm worried that we'll end up using OTL's movies as a crutch, and even if we don't, it still forces us to do something very similar to Infinity War/Endgame as our finale when we might want to explore other ideas. I'd rather try something different, even if it's a risk—if nothing else, it will just be more fun that way.
 
These are all good points, but I'm not particularly enthused about the idea of just doing the Infinity Saga again. I'm worried that we'll end up using OTL's movies as a crutch, and even if we don't, it still forces us to do something very similar to Infinity War/Endgame as our finale when we might want to explore other ideas. I'd rather try something different, even if it's a risk—if nothing else, it will just be more fun that way.
Again I don't think that this is necessarily a bad take to have. I will say that I personally do not believe we'll use OTL's movies one to one as a crutch for creativity and that we'll come up with original ideas within this framework. I have faith in our ability to do things differently where it matters (Hulk's wildly different than OTL, we have a Hawkeye movie in the works and there are talks that seem to be coalescing towards Wonder Man being in the starting line up of Avengers and potentially including Wasp way earlier).

I do find it kind of darkly amusing that the points of the quest that differ from OTL out of universe (DC putting us on a clock and being a potential threat to unseat us) makes me want to hew much more closely to OTL as a safety net for greater structure but I also think it might be for the best as it gives us something we know how to work towards and tie together.

We don't have to throw the baby out with the bathwater in order to be different, we're already doing things differently and I think that with the QM showing more and more that we will be restricted and pushed to conflict with others, it's better to go with a general overview we know works and that we won't have to constantly scramble to figure out the logistics of.

If you've got an alternative villain we could build to I'd be happy to hear it but as of now I think caution and faith in people's ability to do things differently are the way to go as opposed to abandoning all structure and safety nets in the hopes of veering wildly off course from what has been done before and being more original.

Edit: I also believe in overmind as a QM enough that I think we'd be pressured to make changes and distinctions from OTL regardless of how close we tried to hew to it by simple virtue of curveballs and divergences adding up over time. We've got outside pressure shaping our movie creation process now and so I don't think we'll end up with OTL's MCU regardless of what we do so I'd rather keep at least some of the benefits of having a skeleton to work with that is relatively safe and secure.
 
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Galactus and Kang the Conqueror... Even more Lego Marvel characters...
Galactus and Kang are owned by Fox so building the entire cinematic universe around them seems ill-advised. Plus Galactus isn't exactly big on personality or motives (and I say that as someone who like the character) and Kang is centered around time travel which is almost certainly going to be messy.

Edit: Additionally unlike Thanos they don't have an easy item we can throw in a movie to tie it into the greater whole without showing them as well. I'm not particularly high on Thanos so much as I am on the Infinity Stones because my god are they useful for tying things together. It's also not something DC can do exactly like us so it inherently differentiates us
 
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Galactus and Kang are owned by Fox so building the entire cinematic universe around them seems ill-advised. Plus Galactus isn't exactly big on personality or motives (and I say that as someone who like the character) and Kang is centered around time travel which is almost certainly going to be messy.

Edit: Additionally unlike Thanos they don't have an easy item we can throw in a movie to tie it into the greater whole without showing them as well.
Eh, that's true. I just wanted to throw some random ideas out. Dormammu? d:
 
Clearly the true route here is to dethrone Ike and takeover Marvel! Then, eventually get big enough to buy back our properties and takeover DISNEY!

... yes I'm kidding.
 
Eh, that's true. I just wanted to throw some random ideas out. Dormammu? d:
He's clean but again showing his presence and the scope of his plans is tricky because he's got the dark dimension and the mindless ones but you can't show those across several different movies without them potentially feeling really repetitive.

He's also generally more of a Dr. Strange villain than an Avengers villain if that means anything.

Edit: I don't know how well this twist would go down but a potential best of both world option would be to have Thane (son of Thanos) as the final big bad, taking over from Thanos. That way we keep all the benefits of the plot rocks (infinity stones) and we do something significantly different than OTL.
 
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Guiding Bolt's Jericho/Brother Voodoo (Movie Pitch)
If we're doing Wonderman, I'd like to try and tackle Jericho Drumm/Brother Voodoo at some point as well. They have some good crossover stories.

anyway, cough, not relevant to current discussion, but, uh, here's this. more acts & an introduction forthcoming over the weekend.

MOVIE PITCH: Jericho
Abstract: Jericho Drumm is finishing work on his doctorate thesis in Caribbean politics in New Orleans when he receives a call from his niece, Collette, begging him to come back to Port-au-Prince and lead séance for his brother/her father, Daniel, now a year departed. Jericho refuses to take part in the séance, but Collette convinces him to come home and stay with family as they mourn a year's passing. Arriving in Port-au-Prince, he learns of a greater conspiracy involving his departed brother, the missing person case of his old friend Loralee Tate and the mysterious sorcerer Baron Samedi, who claims power over the realm of the dead.

Cast: Jericho Drumm/Vodou (Haitian or African American man, early 30s; also as a child), Daniel Drumm's spirit (Haitian or African American man, mid-30s; also as a child), Loralee Tate (African American woman, late 20s), Collette Drumm (Haitian or African American woman, 18~) Officer Samuel Tate (African American man, late 40s), Kidnapping Victim (Haitian woman, early 20s)0

Antagonists: Dr. Desmond Drew/Baron Samedi (Haitian or Nigerian man, early 30s), Mambo Limbo (Haitian woman, elderly),

Supporting: Maman Brijit (immortal Lwa, albino woman)

Story
Jericho arrives in New Orleans and reunites with his niece, Collette Drumm, who has gathered her father's Houngan artifacts and started to teach herself the basics of vodou. In her exploration, she learned that her father's death was due to a curse, which she believes was placed by the new Houngan: "Mambo Limbo," an elderly Mamaloi who was thought to have left the practice thirty years ago. Jericho is convinced by Collette to start his own investigation into what's going on in the region, leading him to send a coded message to his American friend and humanitarian worker Loralee Tate, at the Atis Rezistans.

There, he instead meets Loralee's father, American police officer Samuel Tate. Tate is furious with Jericho for getting his daughter involved in "Lwa's business" and desperate for information on her. Tate blames Jericho for her involvement in Haiti at all, suggesting that if it weren't for their old relationship, she would've stayed in New Orleans; Jericho denies any involvement in her choices, reiterating that she's always been her own woman. Sam eventually backs off, and Jericho learns that Loralee Tate is a missing woman, one of many missing women in Port-au-Prince, with few leads or connections other than nebulous contact to the "Cult of the Dark Lord."

Their investigations lead Jericho and Samuel throughout Port-au-Prince. After a week investigating Mama Limbo with no results, they widen their search to other regions of the city. Jericho and Sam successfully intervene in a kidnapping attempt made on a local woman in Port-au-Prince's market street, but the kidnapper "dies" before they can interrogate him. Sam Tate is furious that they let the kidnapper get away with killing himself, and denounces the "religious fanaticism" involved, but Jericho questions the situation more. Jericho and Sam search the body and find tokens of the Cult of the Dark Lord, but Haitian police arrive and take over the situation before they can complete a more thorough investigation. Collette, now deeper in her study of Daniel's materials, suggests the kidnapper might've been dead the whole time. Jericho agrees.

Jericho and Collette lead a séance and call forth the kidnapper's spirit using the artifacts of the Cult collected from him. His spirit, still clinging to the world, is easily called forth into the room; once-arrived, it denounces the group as cravens, fools and amateurs, not fit for Baron Samedi's perfect Haiti. Sam challenges the spirit and demands to know where his daughter is, going as far as to shoot his pistol at the spirit's ethereal form. He shatters a glass artifact elsewhere in the room and immediately drops his gun in fear. Jericho realizes the soul is bound by Baron Samedi through necromantic vodou, and that through summoning him into their home, they have opened themselves up to attacks by Samedi's forces. Jericho dismisses the soul immediately and ends the séance, thoroughly unnerved by the process.

Collette suggests that they take turns guarding Sam through the night, as she believes he was the one who most strongly provoked Samedi's spirit servant. Jericho is willing to do it himself; he's had more than enough nights with no sleep working on his doctorate, staying up one more won't hurt him. The group comes to agreement. Collette splits off from the others, promising to give them a call once she makes it back to her apartment.

Jericho and Sam both stay up the night in the Drumm House, and Sam reveals a flask of gin from his pack. Sam convinces Jericho to have a glass of gin with him; Jericho agrees to one glass, but Sam continues drinking after that. They share stories about Loralee for a while, leading Sam to apologize for the past. He had never supported the two of them together, and he never understood Jericho's "family business," but maybe now he's starting to get some of it. As Sam finishes his fourth glass of gin, he shakes his head and admits "you're alright, Jerry. Probably a better man than me."

Jericho's phone ringing breaks the moment. It's Collette. Jericho answers, but there's no one on the other line. Only muffled noises of movement, Collette's dogs barking and the phone swinging through the air.

The camera shifts to pan through Collette's apartment, where two of her dogs are in near-shock. Her belongings are scattered across the room and her furniture is smashed. The camera pans further, and as the dog's barks end, the audience can hear the slight whine of a third dog, pinned beneath the apartment's broken couch. Jericho and Sam kick through the door and storm into the apartment, finding it ransacked; Sam, feeling the gin, starts to cry and apologize to Jericho. Jericho is more focused on searching the room and helping Collette's pinned dog. His perceived cold shoulder to Sam spirals Sam further, and his drunk apologies turn towards aggression.

Jericho finishes helping Collette's dog out from under the couch. There doesn't look to be any permanent damage, but she's bruised and has a troubled gait. Sam starts another insult towards him, but Jericho rises up with the dog in his arms and shakes his head. He denounces Sam Tate, returning to the idea of 'family business' – "my family puts demons back in the dirt, you drink your demons out a bottle." The words startle Sam out of his anger, swinging him back through the mercurial moods of a drunk into despondence. Jericho hands the dog over to Sam and tells him to call the police and get this "taken care of" while he goes after his niece.

Jericho leaves and manages to catch a bare trail leading away from the apartment. He pursues it throughout the night, despite his growing tiredness, but eventually he collapses and gives up, now much deeper within a Port-au-Prince slum. The trail has broken off into multiple different paths, and none look promising. Jericho sits down on the curb and stares out across the Port-au-Prince streets and realizes he's been here before, when he was a kid.

Jericho follows his past footsteps, trailing after a memory of himself and his brother as children. It was one of the first time they dabbled with vodou; they hold talismans of their own design, inscribed with vèvè of their own favored story. Jericho's depicts Maman Brijit, and the Gede; Daniel's depicts Ezili Dantor, and the Petwo instead. It was Daniel's dream as a child to become a great Houngan, and unify the people of Haiti through religion. Jericho's childhood dream was not as kind. He remembers being praised as the next great bokor, and Daniel's words of the great power he held inside.

Jericho comes out of reminiscing, and finds himself at the roots of an old Haitian tree, still standing within Port-au-Prince. Carvings wrap around the tree, many by Jericho and Daniel's own hands. Guided by the memories of his brother and himself as children, Jericho digs against the dirt at the tree's base, and pulls two talismans out from their shallow grave. Light glints around them, showing off their magic nature and protection. They were the same he and his brother wore, long before.

Jericho looked back over his shoulder, against the dark night of Port-au-Prince. In the distance, dogs bark, and rain breaks the sky. Jericho spits against the dirt. Lightning flashes, and in the light, he sees the young faces of his niece and of his old flame Loralee.

After a moment of doubt, hesitation and guilt, Jericho forcefully pulls the talisman necklaces down over his neck. The necklaces cords rip as he tears them down onto his neck, but a new cord of light forms between them, burning white-hot and clinging to his skin. The same light fills Jericho's eyes, and he grabs the base of the tree to support himself. The world around him shakes, and trembles; his vision comes in and out of focus.

Finally, when he stables himself and looks up, he sees his brother's shade beside him, with white fire glowing in his eyes. Daniel is laughing; "hell, it's about time you came back to me, brother." Daniel's shade offers him a hand and help to his feet; Jericho takes it, and white smoke spirals around him as he does, reinvigorating him with magic strength and energy.
 
anyway, cough, not relevant to current discussion, but, uh, here's this. more acts & an introduction forthcoming over the weekend.

MOVIE PITCH: Jericho
Abstract: Jericho Drumm is finishing work on his doctorate thesis in Caribbean politics in New Orleans when he receives a call from his niece, Collette, begging him to come back to Port-au-Prince and lead séance for his brother/her father, Daniel, now a year departed. Jericho refuses to take part in the séance, but Collette convinces him to come home and stay with family as they mourn a year's passing. Arriving in Port-au-Prince, he learns of a greater conspiracy involving his departed brother, the missing person case of his old friend Loralee Tate and the mysterious sorcerer Baron Samedi, who claims power over the realm of the dead.

Cast: Jericho Drumm/Vodou (Haitian or African American man, early 30s; also as a child), Daniel Drumm's spirit (Haitian or African American man, mid-30s; also as a child), Loralee Tate (African American woman, late 20s), Collette Drumm (Haitian or African American woman, 18~) Officer Samuel Tate (African American man, late 40s), Kidnapping Victim (Haitian woman, early 20s)0

Antagonists: Dr. Desmond Drew/Baron Samedi (Haitian or Nigerian man, early 30s), Mambo Limbo (Haitian woman, elderly),

Supporting: Maman Brijit (immortal Lwa, albino woman)

Story
Jericho arrives in New Orleans and reunites with his niece, Collette Drumm, who has gathered her father's Houngan artifacts and started to teach herself the basics of vodou. In her exploration, she learned that her father's death was due to a curse, which she believes was placed by the new Houngan: "Mambo Limbo," an elderly Mamaloi who was thought to have left the practice thirty years ago. Jericho is convinced by Collette to start his own investigation into what's going on in the region, leading him to send a coded message to his American friend and humanitarian worker Loralee Tate, at the Atis Rezistans.

There, he instead meets Loralee's father, American police officer Samuel Tate. Tate is furious with Jericho for getting his daughter involved in "Lwa's business" and desperate for information on her. Tate blames Jericho for her involvement in Haiti at all, suggesting that if it weren't for their old relationship, she would've stayed in New Orleans; Jericho denies any involvement in her choices, reiterating that she's always been her own woman. Sam eventually backs off, and Jericho learns that Loralee Tate is a missing woman, one of many missing women in Port-au-Prince, with few leads or connections other than nebulous contact to the "Cult of the Dark Lord."

Their investigations lead Jericho and Samuel throughout Port-au-Prince. After a week investigating Mama Limbo with no results, they widen their search to other regions of the city. Jericho and Sam successfully intervene in a kidnapping attempt made on a local woman in Port-au-Prince's market street, but the kidnapper "dies" before they can interrogate him. Sam Tate is furious that they let the kidnapper get away with killing himself, and denounces the "religious fanaticism" involved, but Jericho questions the situation more. Jericho and Sam search the body and find tokens of the Cult of the Dark Lord, but Haitian police arrive and take over the situation before they can complete a more thorough investigation. Collette, now deeper in her study of Daniel's materials, suggests the kidnapper might've been dead the whole time. Jericho agrees.

Jericho and Collette lead a séance and call forth the kidnapper's spirit using the artifacts of the Cult collected from him. His spirit, still clinging to the world, is easily called forth into the room; once-arrived, it denounces the group as cravens, fools and amateurs, not fit for Baron Samedi's perfect Haiti. Sam challenges the spirit and demands to know where his daughter is, going as far as to shoot his pistol at the spirit's ethereal form. He shatters a glass artifact elsewhere in the room and immediately drops his gun in fear. Jericho realizes the soul is bound by Baron Samedi through necromantic vodou, and that through summoning him into their home, they have opened themselves up to attacks by Samedi's forces. Jericho dismisses the soul immediately and ends the séance, thoroughly unnerved by the process.

Collette suggests that they take turns guarding Sam through the night, as she believes he was the one who most strongly provoked Samedi's spirit servant. Jericho is willing to do it himself; he's had more than enough nights with no sleep working on his doctorate, staying up one more won't hurt him. The group comes to agreement. Collette splits off from the others, promising to give them a call once she makes it back to her apartment.

Jericho and Sam both stay up the night in the Drumm House, and Sam reveals a flask of gin from his pack. Sam convinces Jericho to have a glass of gin with him; Jericho agrees to one glass, but Sam continues drinking after that. They share stories about Loralee for a while, leading Sam to apologize for the past. He had never supported the two of them together, and he never understood Jericho's "family business," but maybe now he's starting to get some of it. As Sam finishes his fourth glass of gin, he shakes his head and admits "you're alright, Jerry. Probably a better man than me."

Jericho's phone ringing breaks the moment. It's Collette. Jericho answers, but there's no one on the other line. Only muffled noises of movement, Collette's dogs barking and the phone swinging through the air.

The camera shifts to pan through Collette's apartment, where two of her dogs are in near-shock. Her belongings are scattered across the room and her furniture is smashed. The camera pans further, and as the dog's barks end, the audience can hear the slight whine of a third dog, pinned beneath the apartment's broken couch. Jericho and Sam kick through the door and storm into the apartment, finding it ransacked; Sam, feeling the gin, starts to cry and apologize to Jericho. Jericho is more focused on searching the room and helping Collette's pinned dog. His perceived cold shoulder to Sam spirals Sam further, and his drunk apologies turn towards aggression.

Jericho finishes helping Collette's dog out from under the couch. There doesn't look to be any permanent damage, but she's bruised and has a troubled gait. Sam starts another insult towards him, but Jericho rises up with the dog in his arms and shakes his head. He denounces Sam Tate, returning to the idea of 'family business' – "my family puts demons back in the dirt, you drink your demons out a bottle." The words startle Sam out of his anger, swinging him back through the mercurial moods of a drunk into despondence. Jericho hands the dog over to Sam and tells him to call the police and get this "taken care of" while he goes after his niece.

Jericho leaves and manages to catch a bare trail leading away from the apartment. He pursues it throughout the night, despite his growing tiredness, but eventually he collapses and gives up, now much deeper within a Port-au-Prince slum. The trail has broken off into multiple different paths, and none look promising. Jericho sits down on the curb and stares out across the Port-au-Prince streets and realizes he's been here before, when he was a kid.

Jericho follows his past footsteps, trailing after a memory of himself and his brother as children. It was one of the first time they dabbled with vodou; they hold talismans of their own design, inscribed with vèvè of their own favored story. Jericho's depicts Maman Brijit, and the Gede; Daniel's depicts Ezili Dantor, and the Petwo instead. It was Daniel's dream as a child to become a great Houngan, and unify the people of Haiti through religion. Jericho's childhood dream was not as kind. He remembers being praised as the next great bokor, and Daniel's words of the great power he held inside.

Jericho comes out of reminiscing, and finds himself at the roots of an old Haitian tree, still standing within Port-au-Prince. Carvings wrap around the tree, many by Jericho and Daniel's own hands. Guided by the memories of his brother and himself as children, Jericho digs against the dirt at the tree's base, and pulls two talismans out from their shallow grave. Light glints around them, showing off their magic nature and protection. They were the same he and his brother wore, long before.

Jericho looked back over his shoulder, against the dark night of Port-au-Prince. In the distance, dogs bark, and rain breaks the sky. Jericho spits against the dirt. Lightning flashes, and in the light, he sees the young faces of his niece and of his old flame Loralee.

After a moment of doubt, hesitation and guilt, Jericho forcefully pulls the talisman necklaces down over his neck. The necklaces cords rip as he tears them down onto his neck, but a new cord of light forms between them, burning white-hot and clinging to his skin. The same light fills Jericho's eyes, and he grabs the base of the tree to support himself. The world around him shakes, and trembles; his vision comes in and out of focus.

Finally, when he stables himself and looks up, he sees his brother's shade beside him, with white fire glowing in his eyes. Daniel is laughing; "hell, it's about time you came back to me, brother." Daniel's shade offers him a hand and help to his feet; Jericho takes it, and white smoke spirals around him as he does, reinvigorating him with magic strength and energy.
I haven't read it in too much detail as I don't think critiquing it as is now would be completely fair but I am interested in it.

I also think that there's a strong justification for this movie to exist and be included in the cinematic universe if we go with Thanos as if we want to go with a more comics accurate take on the character, this is a potential opportunity to introduce and set up Death so that we can bring her back up later. I think this movie is a huge opportunity and while I'm not fully invested in making it in Phase 1, I do very much want to push this in Phase 2 if we go with Thanos as it's new it's interesting and it has immediate values that can connect it to the greater cinematic universe.
 
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