I don’t understand you sometimes, internet.
Granted, it’s not as if the internet is what I’d
call easy to understand. It’s a repository of all the fragmented
groups, ideas, and interests, mashed together into a single
quasi-location. Subcultures bump against
each other at random and interact, however briefly -- for good and for ill. True, it may very well be the ultimate means
of communication and expression, but I don’t think I need to explain to anyone
reading this that sometimes, things can get weird.
I know, because as the guy behind this blog, I
have access to the dashboard. And I know
some of the things that have helped people find this site. Searches for “anime panties”. Searches for “last of us porn”. Searches for “jurassic world indominus rex
naked”. I consider it a point of pride
when one of the more recent searches includes “machina rem voltech”, so that I
can spread the word on two terrible characters.
But I can also see which posts are top-scorers over any period of
time. And for whatever inexplicable
reason, my
post on how to make a good version of Attack
of the 50-Foot Woman is a top-scorer.
Consistently. Like, most weeks it just barely misses out on
reaching the top five. And I’m just like,
“Why, internet?”
Well, I can kind of guess why. As part of that post, I mentioned the semi-recent
Attack of the 50-Foot Cheerleader --
and since I imagine I’m one of the few people who know it exists, I guess that
makes me an “authority” on the subject.
I can’t say I’m happy to have that distinction. Nearly two decades of advancements in movie-making
-- writing, effects, you name it -- made that movie have some of the same
problems as its 1990s progenitor (itself a progenitor of the 1950s movie), up to and including some of the same jokes. Yeah, yeah, budget constraints and B-movie
affect, but come on. There’s so much you
could do with the concept, and instead you decide to just make the titular
titaness sit around and do nothing? Why
even make the movie if you have neither the money nor the mind for it?
So I wrote up my own treatment for it -- not just
because I could (at least conceptually) do better, but because, as I’ve said,
it’s my intent to write about my own huge heroine one day. That’s especially the case, because in my
current hypothetical build, she starts the story at the infamous height…but she’s a character that’s hard to
nail down. If I’m going to do her
justice, I need to know what I’m doing.
I need practice.
So screw it.
If there’s actually a market out there for it, then let’s do this post
all over again. Also, it’ll give me
another chance to force Gary Oldman into the mix. That’s always a plus.
STEP ONE:
Characters
So the last time I did this, I made an
observation: in the actual “canon” movies, the woman who would be huge starts
off in a bad place. You’ve got put-upon
wallflowers, social outcasts, and/or flat-out nerds; any one of them is starved
for respect, and denied of power. Well,
unless you count the supermodel from Attack
of the 60-Foot Centerfold who becomes huge after overdosing on a miracle
(experimental) beauty drug. Or,
potentially, the titular bride from The
30-Foot Bride of Candy Rock, who goes huge thanks to the magic of radiation
and it’s presumably not a means to satirize society and women’s rights in the
fifties. And now that I’ve mentioned that movie in passing, I am now the
internet’s foremost expert on it, because search engine optimization
reasons.
The point I’m getting at here is that it’s
important to know what a character is like before the plot gets in motion. Why do so many superhero movies start with
origin stories (of varying length and quality)?
Because our understanding and appreciation of them is stronger once we
know who they were without superpowers.
Really, that concept extends to a lot of fiction; powers, mutations, and
strange circumstances gain a stronger foundation once we have characters that
are worth following. The various “X-foot
woman” movies all tried to provide that, with varying levels of success (and
quality). I tried to do the same last
time, with a character specifically starting in a good place -- a good,
relatively average, relatively well-off young lady (ideally played by Emma
Stone) who just went through some big changes.
But this time, what if I applied the reverse? What if the leading lady this time was a bad girl?
Normally I’m the guy who shouts out “HEROES!” and
“GOOD GUYS!” But I’m not opposed to
someone who skirts the line, or even veers into villainy. They just have to have that quintessence --
some element about them that makes them entertaining to follow (charisma being
one of them, naturally). To that
end? Instead of continuing on with the
sweetheart waitress Kitty, I’m pulling a 10
Cloverfield Lane and starting all over with a new character: Foxy.
Foxy -- not her real name, thankfully -- is down
on her luck, but makes the best of it.
If anything, she revels in it.
She’s a punk-ass thug living in the city’s depths, throwing hands with
gang members and stealing from the rich (and the poor, and everyone in
between). She tags whatever she wants
with graffiti, trespasses wherever she wants, vandalizes the crap out of places
just to pass the time, and commits the most heinous crime of all: jaywalking. And more often than not, she’ll do it with a
smile or a laugh. Picture Aladdin as an
asshole and you’re halfway there. Or,
alternatively, picture Chloe Price from Life
is Strange, only…well, no, you don’t really need to do that much. (Besides ignore her character development,
but I’m trying to make a joke here.)
In all fairness, Foxy isn’t a total piece of
shit. Like I said, she makes the best of
a bad situation. Given that the
alternative is to lament her life choices until she withers away in a dumpster
somewhere, she decides that being a modern-day rogue is the only way to
live. For her, there’s no way out; one
stroke of bad luck after another left her without a single family member to her
name, along with no money, no escape from the streets, and no hope. So while she’s all snark and smirks most of
the time (and indeed, she’s willing to resort to random acts of kindness),
there’s a darker edge to her -- a cynical side that helps ensure her inability
to improve her lot in life.
It’s only natural, then, that she regularly butts
heads with Commissioner Wolfe. If she
plays the anti-heroine who’s all smiles and pranks (of varying severity), then Wolfe
is the no-nonsense, straight-and-narrow agent of justice. Or, alternatively, he’s the Zenigata to her
Lupin; a guy who wants nothing more than to clean up the streets, but gets
thwarted at every turn thanks to Foxy’s skills, wits, and speed. Of course, Wolfe has more to deal with than
just one young lady; the city is brimming
with punks and criminals, and it’s up to him to at least try to make the
world a better place. Will he
succeed? Given that Foxy still roams
free, it’s a safe bet that he’ll just keep messing up. As one would expect.
There are other characters, of course. Incidental gang members and street punks
abound, and create their own little networks/communities throughout the
city. How and why they ended up in the
same bad place as Foxy are stories in themselves, but what’s important is that
sometimes our “heroine” meets friends, and sometimes she meets rivals. To that end, there’s also Spider -- a
fast-talking rogue with a big ego and the remarkable ability to be the butt of
every joke. That won’t stop him from
being Foxy’s pal some days, an item on others, and a mortal enemy every fourth
Thursday.
In this case, he’s wormed his way into the inner
circle of the Tetrads, a notorious crime syndicate throughout the city. (Well, Spider says he’s in there, but it’s more accurate to say he’s on the
fringes of being one of the off-season goons.)
They’re led by the ruthless crime boss, Lynx -- and while she puts on
airs of being cool and collected, there’s a reason she’s at the head of an
organization unafraid to paint the town red.
In this case? Her plans this time
might do more damage than they’ve ever done before -- and it’s all for the sake
of profits. And/or power. But they’re semi-interchangeable, when you
think about it.
So which one of them would be played by Gary
Oldman? The answer: none of them. Gary Oldman would play the scientist.
STEP TWO:
Plot
It’s just another day for Foxy -- stealing her
daily bread, sticking it to the man, outplaying Wolfe and the cops, et
cetera. Routine stuff, for sure; while
it’s enough to make sure she sees tomorrow, she knows that it’s not quite
sustainable living. Also, she wouldn’t
mind hopping on the fast track to easy street…which is kind of difficult when
the most you’ve got to your name is whatever you’re wearing. But her luck might be about to change, thanks
to some hot tips from Spider. Lynx is
out to make a steal from a pharmaceutical mega-corporation; if it goes through,
then she can sell its bounty for big money -- and Lynx herself is offering some
serious cash for anyone who brings her the goods.
The “goods” in this case are actually a single
item: a supposed, completed prototype for a cure-all concoction, able to practically
stop death (if the rumors are true).
Foxy decides to stage a theft single-handedly, albeit with other Tetrads
running interference -- to her detriment, inevitably, when they (rightfully)
assume our hero’s going to double-cross Lynx and try to wrest money from
potential buyers. The end result? Despite a daring theft and escape to a hidden
safe haven, Foxy ends up taking some grievous damage. The plus side is that she makes off with the
prototype, and holds all the bargaining chips.
The minus side is that she’s about
to die.
If only there was some way to instantly reverse
damage that would otherwise put a person in irreversible mortal peril. Oh, wait.
There is. And I’m sure it has
absolutely no side effects whatsoever, and is in no way comparable to an ancient evil artifact that
no one should ever touch.
You can pretty much guess what comes next. Foxy uses the prototype out of desperation,
and is practically unconscious when she downs the stuff. When she comes to, she’s 100% healed, and
thinks she’s going to get off scot-free.
That thought doesn’t last long.
Setting aside the fact that she’s incurred Lynx’s wrath -- and by
extension has Tetrads as well as policemen trying to sniff her out -- her body
starts to change. She’s getting
heavier. Her mobility’s wonky. She keeps breaking stuff. She’s constantly hungry. And more pressingly? Every so often, she sees her body swell up;
whether it’s a wrist that snaps a bracelet, or feet that tear through her
shoes, she learns firsthand that she’s getting bigger. And there’s no telling when it’ll stop.
Compounding all of this is Scientist Gary Oldman
(his friends call him Dr. Crane). Lynx
catches wind of what’s happening to Foxy, since it’s kind of hard to miss
someone who stands taller than a giraffe in a few days’ time. And though she’s eager to off the lady thief,
she wants a piece of that sweet, sweet gigantism for herself -- ergo, she wants
to find Dr. Crane so he can produce another serum and do the same thing to
her. The good doctor is in hiding,
naturally, and would prefer to ride out the storm than help anybody. So it’s a game of cat and mouse that’s almost
complex enough to need its own diagram.
Can Foxy find the doctor and a cure before she
turns into a living natural disaster? Or
is her journey setting her up for one big fall?
Find out on the next exciting episode of…nothing. Because it’s not a TV show. That’d be silly.
STEP THREE:
Setting
We could just say “New York” or “Los Angeles” and
be done with it, couldn’t we? Arguably.
I’ve been using “city” a lot to describe the
setting, and that really is the best sort of place to stage this
treatment. Thinking back, the failings
of the other X-Foot Woman movies was that they tended to take place in areas
that couldn’t capitalize on the heroine’s monstrous size. Granted part of that had to do with the fact
that they tended to sit her around and have her do nothing (save for a token
“rampage” that could’ve doubled as a Sunday stroll), but I think the point
still stands.
I mean, look at King Kong; he’s long since gone
down in cinematic history for his scaling of the Empire State Building, and
that was done with effects that could probably be reproduced today in someone’s
garage. Imagine what we could do
nowadays with modern technology, a sufficient budget, and people who actually
gave a shit.
It’s true that surrounding Foxy with skyscrapers
could potentially diminish her impact as a towering she-beast. (To be fair, that would depend on her
sticking strictly to a maximum of 50
feet -- and since I suspect the other movies cheated, I see no reason why she
couldn’t reach kaiju sizes or beyond.)
Still, it’s hard to ignore the possibilities. Sure, cities are known for some pretty tall
buildings, but almost by default they’ve got all sorts of unique designs and
offerings. You could have the pristine,
glimmering neighborhoods that wouldn’t be out of place in Mirror’s Edge -- and then on the opposite end of the spectrum, you
could have the crime-riddled alleys tucked away in the darkest corners of
town. Couple that with the urban sprawl,
the major landmarks, and especially the
city denizens, and you get plenty of tools in the box. Just like real life.
It’d be all too easy to highlight the disparity
between classes -- between thugs like Foxy and Spider, who scrape up whatever
they can from the doldrums; between the workhorses like Wolfe and Crane,
professionals with families and duties to keep in mind; between kingpins like
Lynx, who actively makes the world a worse place from the comfort of a
penthouse suite. Benevolence and cruelty
alike could coexist in the same space, and as such create a dynamic,
unpredictable environment.
Also, cities are pretty nice to look at, so
there’s that. I mean, a nice forest or beach
is cool and all, but there’s no beating a steel-framed skyline.
STEP FOUR:
Music
So the last time I did a movie treatment, I went
for something more focused on drama -- probing the consequences of being a big
woman just trying to survive. Well, I
say “drama”, but it’s not as if things would’ve been super-heavy or
super-serious the whole time. More like
that “dramedy” thing. I could see it
having a lean toward comedic bits and heartwarming moments; part of that came
from the proposed soundtrack, full of acoustics, indie music, and something not unlike Portal’s “Still Alive”. It was fine for that theoretical movie, sure
-- but in hindsight, that came off as pretty twee. This new version needs something with a
harder edge.
As such? I
propose the inclusion of the funkiest of fresh beats.
A soundtrack that’s predominantly hip-hop just
might create the atmosphere needed.
Granted it wouldn’t mean that lyrics would be blasting from the first
minute on; I could see some instrumental tracks playing in the background. And indeed, depending on the circumstances
the song(s) could be lighter than air, or heavy enough to drag a person’s soul
into the earth’s mantle. Or maybe they
could just be sick as all hell. Again,
it’s all depending on the scene. But
it’s hard to divorce hip-hop from the specter of crime and violence; given
that, doesn’t it seem fitting to have a song like this when three-fifths of the
cast is entrenched in lawlessness?
So that means people would be serenaded by all
sorts of street soldiers -- Doujah Raze, Tre-Dot, Public Enemy, Busta Rhymes,
Joe Budden, and more. And to what
end? A stylish soundtrack that adds all
sorts of color and flourishes to the movie.
Whether it’s a fast-paced track, a pounding string of beats and lyrics,
or something more mellow and melancholy, there’s enough within the genre to fit
any given moment.
And it’d all be a reflection of the tools -- of
the city, but Foxy at large. In what
capacity? Well, it’d kind of suck if she
was just a one-note rogue, wouldn’t it?
We’ve got enough of those out there, I think. So maybe she could offer something a little
bit different. Something good,
hopefully. And there’s no better way to
do that than to work her character -- her struggle, irrespective of her little
growth spurt -- into the story. So let’s
move on to the real meat and potatoes.
And milkshake.
STEP FIVE:
Tone and Depth
Here’s the question that needs to be answered: is
Foxy a good person, or just another hoodlum?
On the surface, she’s not what anyone would call
the traditional hero. She’s a cocky,
sardonic rule-breaker who serves herself, and only extends a helping hand if
the person in trouble is within arm’s reach. She thinks of the police as a pain in the ass,
but willingly antagonizes them (Wolfe in particular) whenever she gets the
chance. She’s pragmatic, she’s selfish,
and she only thinks ahead when it means lining her pockets with cash. But maybe her biggest flaw is that she’s
caught in a negative spiral of her own creation. Maybe she doesn’t have to live a life of crime on the streets, but does so because
she thinks there’s no way out. Granted “the way out” isn’t exactly easy, but
it’s something. And the question is
whether or not she’s willing to try -- or if she ever tried.
And to that end, the core element of the movie is choice.
Foxy acts like she’s at peace with her scumbag
life, but there’s no guarantee she wants nothing but the life of a scumbag until
the end of days. But she consciously
makes choices that cement her lifestyle, and to the outsider looking in? You could argue pretty successfully that
they’re the wrong ones. She chooses to
be a criminal. She chooses to get
involved with a deadly syndicate. She
chooses to try and play the biggest
threat in the city. And it all catches
up to her once she gets wrecked. She
should’ve died right then and there, but didn’t. That doesn’t mean she doesn’t have to face
the consequences, though.
Foxy progressively turns into a giant, with
everything that that implies -- chief among them, the fact that she won’t be
able to hide forever. What should she do
then? Well, she’s got plenty of avenues
to explore. Granted putting on a few
extra tons means that she loses a good chunk of the agility and speed she’s
honed from years of life on the streets, but the tradeoff is that potentially,
she can use her newfound power -- strength, defense, and one hell of a long
stride -- for the benefit of her fellow men.
That’s what Kitty tried to do in the last treatment, and so by that
logic she can redeem herself through --
Nah, just kidding.
Foxy decides to use her size to troll and bully people whenever she gets
the chance.
She’s got a crime syndicate after her, so she’s at
least justified in going on the attack.
And it’s pretty hard for police officers to give chase when she smashes
their cars like aluminum cans. So yeah,
it’s not as if anybody can accuse Foxy of being passive or reactionary; she’s
got a new tool in her belt, and she’ll make damn sure that it gets used. With that in mind, it’s a given that the
consequences are higher than ever before.
One misstep could lead to someone innocent getting hurt -- or just
saddle her with deaths and destruction she wasn’t ready to take into
account. And by “could” I mean “it
does”.
Every choice Foxy makes is her own. But her problem -- if not her fatal flaw --
is that she’s unwilling to accept the weight of her choices. It’s as if she ignored the “with great power”
speech from so much Spider-Man media, or somehow didn’t get the memo about
Uncle Ben. But even pre-growth, she
doesn’t put much stock into personal responsibility. She plays the victim because, in all
fairness, she has legitimate reasons to resent her lot in life. The problem is that she does nothing to make
said lot any better, even with the power thrust into her lap. She only makes the lives of others worse. She only makes one bad choice after another
-- and once again, they catch up to her.
Only a container of ooze might not be enough to reverse the damage she
does. It certainly won't create a batch of reptilian warriors.
Of course, Foxy isn’t the only one making choices. Spider may be a stooge who gets slapped
around at leisure, but he’s still someone who has to decide where his loyalties
lie -- even if either option could lead to his murder. Wolfe, admittedly, doesn’t get to deviate
from the straight and narrow, but that doesn’t make him less complex. In the face of opposition and a world that’s
long since lost its purity, he chooses to press on and preserve the law -- and
in critical moments, has to choose how he’s
going to uphold the law. That is to say,
there would be moments where he’d have to decide if the end justifies the
means.
Dr. Crane chose early on to use his skills for the
betterment of mankind -- and seeing what sort of people want to abuse his
kindness, irrespective of turning Foxy into a colossus, has left him
shaken. So he has to choose whether to
stay in hiding (or better yet, run away) to keep his genius untapped, or to step
into the light and fix the problems he’s only tangentially responsible
for. So yeah, he’s a good guy, but Lynx
isn’t quite so altruistic. Like I said,
she wants what Foxy’s got -- and as such, chooses to forgo everything she’s
got, her humanity first and foremost, for a chance to rule the city with an
iron fist. As villains would.
In theory, this movie could potentially have a dark tone (or if not that, then undertones), but
I don’t see it as a priority or a requirement.
It’s all for the sake of providing answers to the scenarios presented --
or by extension, providing answers to the question “What would happen if there
was a fifty-foot woman?” Less than half
of the cast would qualify as Good Samaritans -- and even Wolfe can be
stunningly cold -- but they still have their charms, I think. Their natures and interactions would inform
the movie, as well as the choices made.
Foxy and Wolfe are basically enemies, but at the
outset it has the feel of a friendly rivalry.
Once Foxy starts to grow, however, the dynamics shift; suddenly she has
a chance to crush the opposition, so it’s a question of whether or not she’s
willing to take it -- and if she’s
willing to have that blood on her hands.
She also has to think about her relationship (such as it is) with
Spider, and he has to do the same; are either of them willing to take the
plunge for the other, or should they stay set in their self-serving ways? And of course, there’s still the connection
to Lynx. What happens when the balance
of power swings so fast it’ll make your neck snap? I’d say that’s something worth finding out.
STEP SIX:
The Fights
How does the saying go? The essence of drama is
conflict, or something like it. So I
guess in order to create TRUE ART, the only option is to take that saying as
literally as possible.
To be fair, it’s not as if Foxy is the sort to
have some knock-down, drag-out brawls (at her original size, at least). As a thieving street thug, she’s more about
using speed, agility, and evasion to outpace the cops -- so while she does a
little fighting, the majority of her spectacle would come from her showing off
her athleticism. Parkour, freeclimbing,
and the like are all present and accounted for.
And while she loses some of that mobility once she goes gigantic, the
experience she’s gained doesn’t go away.
Small or large, Foxy’s no stranger to hot
pursuit. But while she can count on
escapes and hideouts at normal size, things get a little more complicated once
she’s huge. Police cruisers, gunmen,
helicopters, and even tanks all chase after her throughout the movie, forcing
responses of fight, flight, or a mix of the two. So on one hand, she could sprint through the
streets to escape incoming cops, leaving crater-sized potholes with each step;
at one point during a chase, she could opt to gain altitude, and as such
scamper up a skyscraper under construction -- only to learn firsthand just how
much weight she’s gained, and send the whole thing tumbling down.
You’d think that Foxy would be unbeatable on
account of having legs like sequoias, but remember: there’s only one of her,
and what she suspects are an infinite number
of enemies out to get her. So when it’s
time to get aggressive, she can put on a show.
She could rush down tanks and snatch them up, either ripping them apart
or punting them like soccer balls. Or,
alternatively, she could scamper up buildings and launch herself through the
air -- all for the chance to tug attack choppers out of the sky. Or she could make like the Hulk and go for a booming thunderclap. Or, beyond that, she could form barricades by
uprooting the streets and turning them into makeshift fences. Or maybe she could rip out a crane and swing
it like a baseball bat. Sky’s the limit.
Given that this is kind of starting to sound like
a Marvel movie, it seems fitting to mention that it arguably follows through on
one if the MCU’s biggest vices: the hero fights a bigger, meaner, version of
himself. Or herself, in this case; Lynx
gets her hands on more of the prototype, downs a bigger dosage of it, and
manages to overshadow Foxy in a fraction of the time. It’s not long before the big boss
becomes…well, the big boss and starts
leveling the city as she sees fit, so Foxy has to step in and resolve the
situation. Though of course, she can’t
rely 100% on brute force. Luckily, she
doesn’t have to -- and so the big climax would have our heroine using her
skills, wits, and mobility in one stunning display of spectacle. And property damage, presumably. But hey, big fight.
STEP SEVEN:
The Actual Movie Stuff
Well, Gary Oldman would have the starring role as
Dr. Crane. That’s really all you need to
know.
Okay, just kidding (mostly). I imagine that Chloe Grace Moretz would be a
strong fit as Foxy; as Kick-Ass’ Hit Girl and Carrie’s…uh, Carrie…she’s
got experience playing ladies with an edge.
As much as I’d love to typecast Gary Oldman in a
commissioner role, I see no reason why Idris Elba couldn’t do the role
justice. All he’d have to do is be
Stacker Pentecoast again, and boom.
Instant success.
I recently learned that Nicholas Hoult played
zombie-boy R in Warm Bodies -- and
while I imagine him as a young Hank McCoy/Beast first, it’s not hard to see him
acting as a doofus who acts (or tries to act) like a Total Cool Guy™.
Aaaaaaaaaaaaand as a villain, we need someone with
class and authority. We need a woman’s
woman, who can crush souls with merely a glance.
…But I’m not good enough with actors and actresses
to know one by heart, so let’s go with Guardians of the Galaxy starlet Zoe Saldana and leave it at that for
now.
I suppose the question that remains is “who would
direct the movie”? Well, that overlooks
things like writers, producers, composers, cinematographers, prop masters, and
more, but if I absolutely had to name a director? In all honesty, I’m at a loss. If anyone has suggestions, then I’ll accept
them wholesale. Otherwise, let’s just go
with Joss Whedon as a stand-in (because of course I would). I think at this stage, the guy’s proven that
he’s got a handle on snarky characters and cool leading ladies.
In terms of visual style? The important thing is showing off the
disparity between lifestyles, as well as the destruction wrought by Foxy’s mere
presence. If the movie was filmed in
real locations -- and by extension wasn’t just done in full 3D animation --
then I’d imagine that smart use of props and film locations could accomplish
the former. Maybe a bit of
computer/filter work could alter colors here and there, but nothing too
major.
As for the latter?
Well, like a lot of modern movies, I suspect that this is where the CG
would really come into play. It’s not like wrecking cities on a whim is
appreciated by the average city-dweller, so consider it a necessary evil. Then again, given that “practical effects” were
a major selling point for The Force
Awakens, I’m sure a savvy crew could find a workaround. Maybe they could build models and have
Moretz smash them up? It could work,
maybe. On that note, I suppose calling
in James Cameron to direct wouldn’t hurt; he worked some movie magic on Titanic, so he could probably do it
again with the proper resources. Or if
he needed a break from…whatever he’s working on now.
Also, last time I talked about how emphasizing
bigness -- via the “impact factor” -- was a must. That hasn’t stopped being true, so I’ll just
say “watch videos of Pacific Rim” and
be on my merry way.
STEP EIGHT:
Franchise Baiting
So the question at hand is this: is it possible
for Foxy to get a cure and return to normal size? My gut instinct is “no”, since my
understanding of human anatomy is that the body only shrinks for senior
citizens whose bones are degrading -- and even then, it’s only by a few inches. Since this is basically a sci-fi story, the rules
aren’t in full force. So let’s say that
at the end, there’s a way to stunt Foxy’s
growth, but no way to reverse it. Not
yet, anyway.
That leaves Foxy at massive size, Lynx defeated
(and dead, because her heart couldn’t keep pace with her growth -- and she sank
to the bottom of the ocean or something), and millions in property damage. There’s a lot to answer for, both on a
societal level and a personal level -- because not every member of the main
cast will make it to the end credits.
What will our leading lady choose to do, having been through so much,
and having learned firsthand about the weight of consequences and choice?
That’s a good question. And there are a lot of roads for her to go
down.
She could stay in the city and redeem herself. She could refuse to forgive herself, and
choose to live in isolation. She could
bail out, and run without end to the next place she could call home. She could reap what she wants at leisure,
given that very few things in the world could stop her. Or she could become an even bigger threat
than Lynx would ever be, ensuring the birth of a dark new era.
There are lots of possibilities. And if you ask me, that’s what it’s all
about. Foxy makes choices throughout the
movie (some bad, some good), and it ends with her needing to make choices about
what to do next. By extension, that
feeds into her facing the ramifications of her choices -- whether she’s willing
to see them through to the end, or change course because things get a little
rough. In other words? There’s foundation for a sequel, and dozens
of ways to go from there.
Hell, I think I’ve proven with this post that
there are lots of possibilities. I already got in deep with this movie before,
and now I’m doing it again with the same general concept alongside an entirely
different spin. So it’s not as if the
concept is a creative dead end. Far from
it. You just need to have the will to
explore. To create. To make something that’ll put smiles on the
faces of would-be fans.
So there you go, Hollywood. I’m more than willing to
work with Mr. Oldman. Alternatively,
I’ve got a script for Too Many Gary
Oldmans 2: No Country for Gary Oldmans ready to go. Call me up anytime.
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