How I Would Write 'Avengers: Endgame'

For those blessed with the social life and mental health that prevents them from spending 50% of their God-given time on the internet, “How I Would” videos and articles are an online phenomenon mostly accredited to WhatCulture.com’s Adam Blampied, who created many “How I Would Have Booked” videos where he discussed how he would have executed some of the most famous botched wrestling storylines had he been penning the scripts at the time. The fad was picked up by several internet personalities, most notably Bob ‘MovieBob’ Chipman, and has since become something that many people in various sub-cultures appreciate as thought experiments and fan fiction. However, there is some real merit to these types of essays as it demonstrates and deconstructs how a certain narrative works, what works about them, and why they are worth being examined in greater detail. To that end, I have decided to attempt my own “How I Would” essay. And because it’s only a few days from release (at the time of writing anyway) and promises to be the greatest cinematic event since the last one, it’s clear that the best first step into this world of fantasy writing is How I Would Make ‘Avengers Endgame.’

So for starters, there’s something that you need to understand about the ‘Avengers’ movies. They’re really, really good but often not for the reasons people think they are. If you ask fans of them why they’re as good as they are, you’ll likely get responses pointing out how they manage to have a cohesive narrative despite juggling dozens of tangential plots and characters with nothing but loose connective tissue holding them together, their creative action scenes matched only by the sharp wit of their scripts, or the sheer audacity of their very existence as a blockbuster staple less than a century after the childish notion of ‘superheroes’ was first introduced to the cultural zeitgeist. What they might fail to bring up is that each ‘Avengers’ movie has been a subtle allegory about being an ‘Avengers’ movie, playing with an unseen but palpable meta-narrative that engages its audience in a way that other films, even other films in the same franchise, cannot match.

Take, for example, the first ‘Avengers’ movie in 2012.

The premise of the film saw antagonist Loki attempting to invade Earth with an alien army. Pre-invasion, his goal is to assemble the known heroes and extraordinary people of the planet because they are the only ones who could possibly stop him but their extreme personalities all but guarantees that they’ll be unable to function as a team and will, in all likeliness, turn on each other and leave Loki free to enslave humanity. At first, his plan appears to be working as the characters clash over their bombastic personalities, though they do manage to put aside their disagreements long enough to stop the invasion.

But that’s only the plot of the film. What the film is actually about is something very different but also identical in a way. Loki’s mindset is that the concept of the Avengers won’t work because it shouldn’t work. And in 2012, this was mimicking a very real part of the cultural subconscious that recognized on some deep level that ‘The Avengers’ shouldn’t work as a movie. It seems ridiculous to say such a thing about a film that literally changed the blockbuster landscape, but consider how it looks on the surface. The idea of ‘The Avengers,’ both the movie and the titular team of heroes, is that putting together a headstrong magical Viking god, a narcissistic super-genius, a timid Dr. Jekyll-type horror monster, a pair of stoic but storied super spies, and a super-strong boy scout leader lost in time is how to solve the immediate problem. By all indications, this should have been an unmitigated disaster.

And yet…

The movie and the team did exactly what they said they were going to do. The Avengers overcame their differences, banded together, protected Earth, and defeated Loki. ‘The Avengers’ smashed box office records, proved that the concept of a shared cinematic universe was not only possible but lucrative, and became a cultural touchstone unseen in cinemas since maybe the first ‘Star Wars.’ Together, they proved their respective doubters wrong by taking advantage of the fact that they were, in essence, telling the same story twice, once on a surface level and once on a thematic level.

And it wasn’t a one off. The sequel, ‘Age of Ultron,’ had another idealistic villain who echoed the sentiments of the Marvel Cinematic Universe’s critics.

In the film, Ultron is a highly advanced AI born from the Avengers’ feverish desire to create a lasting, definitive guardian for Earth. Ultron’s programing is so advanced that he determines that the key to creating “peace in our time” is to not jus eliminate the powerful and unpredictable superhero element, but to wipe out humans as a species. In basic terms: superheroes are dumb because they are weird offshoots of mankind and since mankind is chaotic and destructive enough on their own, superheroes like the Avengers are even more so by virtue of being more powerful, doing more harm than good. This tapped into the notion that superhero movies, with their endless sequels and enfranchisement, were killing auteur filmmaking and crippling more artistic ventures in favor of surefire box office hits that risked nothing.

And how do the Avengers and ‘Age of Ultron’ choose to respond to such a philosophy?

Once again, the heroes win not just by being stronger or better than the villain, but by proving him wrong on a meta level. Through his machinations, Ultron forces them to examine their own flaws, seeming to prove his point. But the Avengers are able to evolve as people and characters in time to overcome their insecurities and stop his attempt to execute the human race. Humans aren’t just bizarre evolutionary mistakes incapable of creating lasting peace and superheroes exemplify that fact by being superior, selfless beings who prove that even the most out-of-touch humans have the ability to overcome their inherent vices to serve a greater good. They even hang a lampshade on this by emphasizing in the climactic battle that the goal is not to beat up the villain but to save the innocents jeopardized by his scheme. And just for good measure, the film introduced Scarlet Witch and Vision, two of the weirdest and least human characters the comic lore has ever managed to produce, and made them work on a narrative and thematic level. Just to prove it could.

‘Infinity War’ is where the formula starts to break down, but this is very much by design. The villain in the third installment is Thanos, an alien warlord who, due to a tragedy on his home planet, is obsessed by the idea of cosmic balance and believes that overpopulation has grown to such a degree that drastic measures need to be taken. Namely, he wants to collect the six mcguffin, sorry, infinity stones so he can have the power to wipe out half of all life in the universe with a single snap of his fingers. He is upset that there are two many people trying to take too little resources. The Avengers’ response to this is to cram as many heroes as it can into a tight, 2 hour 40 minute runtime. The film advertised itself as “one of the most ambitious crossovers in history” and boasted over 30 individual heroes who would lend a hand in stopping Thanos’s genocide.

And they almost got away with it too.

In a total subversion of expectation and cinematic convention, the bad guy won. Thanos, who despite being the villain of the piece is also the de facto main character, is successful in his goals and eliminates not only half of all life but also a significant portion of the main cast, turning most of the heroes into ash. This not only signified a huge deconstruction of the superhero genre, but in the meta narrative proved Thanos right. There were too many heroes, too many conflicting personalities, and too little time to resolve all their issues so the best and easiest answer was to simply wipe most of them off the board and wait for some kind of satisfying ending at a later date.

And that’s where we find ourselves heading into ‘Endgame.’ The heroes are at their lowest, Thanos has retreated in victory, and we need to find a way to tie up all loose story ends introduced in ‘Infinity War’ while continuing the ‘Avengers’ thematic narrative style and possibly introducing a few new heroes to take over the franchise now that the original cast is pretty much sick and tired of these things.

And this is how I’d do it.

First off, you have to find what the meta narrative should be. It can’t just be “How do the Avengers beat Thanos after he dominated them and killed half their roster” because that’s not only superficial, it’s also boring. Beating Thanos and reversing the so-called Decimation is all but guaranteed. Having the villain win was something Marvel was only ever going to get away with once and they’ve spent their cultural good will on ‘Infinity War’s gut-wrenching finale. No, the key to finding the right meta narrative is identifying what the big question mark hanging over the film is asking. In the first ‘Avengers’ it was if it was going to work at all, for ‘Age of Ultron’ it was whether or not they were damaging pop culture, in ‘Infinity War’ it was if they could handle having so many characters in one film, and for ‘Endgame’ the question is the only one that could possibly be left after ten years and twenty-plus films: what next? What happens when the Avengers are over? At this point the franchise has been so prominent and so popular that it’s hard to imagine a world where we aren’t looking forward to the next installment. It’s like picturing how ‘The Simpsons’ will one day end.

So the film has to answer the gnawing question about how it plans to proceed after what is now known as ‘The Infinity Saga’ ends and a not insignificant portion of its main players leave for greener pastures. It’s a pressing dilemma and in superhero movies, dilemmas take the form of villains. Which is why I think it extremely important that the main villain of ‘Endgame’ is NOT Thanos.

Calm down, I’m not suggesting he not be in it at all or not feature heavily, I’m just saying he shouldn’t be the main antagonist. His story isn’t quite done, but he’s all but proved his point about the dangers of overpopulation. By beating the Avengers, he’s more or less demonstrated that a smaller body of people holding more resources and a stronger drive are capable of defeating a larger group of diverse people who have to scatter powers and advantages among themselves. That question has been answered. So the villain of ‘Endgame’ needs to be someone who has a stake in the new question, who has a personal issue with how the Avengers, both the team and the franchise, effect the future. And, being the comic-obsessed nerd that I am, I believe I have the perfect fit.

Kang the Conqueror is a long-time nemesis of the Avengers in the comics. His whole deal is he’s a genius would-be dictator from the 31st century who can travel through time and is obsessed with establishing his galactic reign by manipulating past events so that the future, his present, is weakened enough for him to rule through force. His backstory has changed through various adaptations and retcons, but that’s the general gist. A lot of the leaks and secrets that have leaked out of the ‘Endgame’ set have all but confirmed that time travel will be a factor in the Avengers’ plan to beat Thanos, and I think that’s a smart move. Not only will it allow the Avengers to basically have a montage of famous moments in the franchises’ decade-long history so they remind fans and themselves of how important they are, but it’s a fantastical new element to be introduced to the MCU that has limitless narrative potential. And since time travel is Kang’s whole shtick, he seems like the perfect guy to go up against the Avengers here.

Fortunately, ‘Infinity War’ set it up ‘Endgame’ about as brilliantly as it could, leaving both the team and audience hanging on a big “what now?” moment. But when we begin ‘Endgame’ (my fantasy version anyway) we don’t begin on Earth with the heroes trying to recover, on Titan with Nebula and Tony trying to escape, we instead begin in a new location, a very large and unfamiliar space ship floating through the aether. We zoom into a porthole that looks into a very finely-furnished bedroom. Kang enters the bedroom, but isn’t wearing his suit from the comics, he looks like just a regular, somewhat wealthy guy coming home from work. Now, you need an actor for Kang who can pull off action scenes, give great pantomime, and has a serious intensity to him so he can be an engaging villain. And here’s what I’m saying:

Yeah, I don’t think I really need to justify that pick any further.

Kang comes into the bedroom, where a pretty woman is already on the bed. They have some fun, romantic, flirty banter that has just a touch of world building around it. Nothing too important, but it establishes that they love each other and they are far removed from the Decimation. As they start to make out, however, the woman notices something out the window. “The stars are disappearing,” she tells Kang. Indeed, the dotting lights outside the porthole are starting the wink out one by one, with large patches of darkness starting to spread across the vastness of space.

As Kang goes to investigate this, he sees his beloved in the reflection of the glass as she starts to dissolve, exactly the same way that people were “dusted” in the Decimation. He flies into a panic as she disappears and he rushes out of the bedroom, revealing that it is the master suite on the spaceship. As he runs through the hallway, alarms are blaring, an PA system keeps cutting in an out, guards and other personnel are dusting away around him, chaos reigns. Finally, he reaches the bridge and the ship’s AI, who for fanboy’s sake is called Jocasta, informs him that this timeline is being wiped away because the Avengers were able to defeat Thanos, changing everything.

Enraged that not only his girlfriend but his entire world is being unwritten, Kang dons his comic-accurate battle armor and activates an experimental time travel device, winking away to the past just as his ship folds in on itself and disappears. Cue title sequence and the words “1000 years earlier.”

Now we split our time between Captain America trying to rally the Avengers on Earth after their defeat and Tony trying to get him and Nebula home. This doesn’t take up too much time and is largely told from the perspective of Scott Lang, a.k.a. Ant-Man, who finds a way to escape the quantum realm and reemerges in a world some time after the Decimation. As he learns about what happened in his absence and regroups with the Avengers, Pepper has become her comic super identity of Rescue, using Tony’s Iron Man armor to protect the refugees of the Decimation and search for Tony in her spare time.

She is successful not long after Ant-Man returns and Black Widow goes to Japan to retrieve Clint, who, following the death of his family, has made the transition into his darker alter ego Ronin. The Avengers are once again assembled on Earth, this time with the added power of the recently introduced Captain Marvel.

They all agree that the next course of action should be to bring the fight to Thanos and attempt to recover the infinity stones so they can reverse his devastating snap. Tony and Rocket fix up Star-Lord’s Milano spacecraft, everyone piles in, and they all take off into space. After arriving on Titan, they attack a retired Thanos who has taken off his infinity gauntlet. At first, it looks like the Avengers will make quick work of him and will win the day early, but they are interrupted by a flash of light and the arrival of Kang in the 21st century. He comes to defend Thanos, using futuristic weapons and the element of surprise to incapacitate the Avengers. Once they are at his mercy, he explains to them his predicament. While they are risking everything to bring back the people they love, he is willing to sacrifice half of all life in the universe if it means the timeline where his girlfriend exists goes forward.

And this is where Kang ties in to the whole meta narrative I was talking about earlier. Kang’s goal in all this is to make sure that the Avengers does not continue, as both a group and as a film series. He’s essentially saying that the Avengers and the ‘Avengers’ movies have run their course and have no more positive value in the world. It would be best, he might say, if they simply went home and never stuck their nose in other peoples’ business again. And as the villain, it is now the Avengers’ goal to not only defeat him, but prove him wrong by demonstrating that they still have something to add to the world and continue to have artistic and cultural value.

But while Kang is explaining all this, the Avengers manage to escape from their futuristic bonds and, while Kang is stunned from their surprise ambush, manage to swipe a part of his time travel technology before they flee back to their space ship and retreat to Earth. Well, most of them anyway. Kang manages to kill a couple of them off, hopefully in memorable or brutal ways, just to remind everyone what the stakes are in this. Kang sets out to follow them, but Thanos remains behind, saying his fight is over. And here’s the kicker, folks: all of this, up until this point, is just act one.

The Avengers return to Earth and begin reverse engineering Kang’s tech, their reasoning being if they can go back in time and recruit other versions of themselves or compile enough lost powerful weapons or some macguffin like that, then they can return to the present ready to beat both Thanos and Kang. As the scientists and geniuses among them frantically attempt to understand technology well beyond their time, the more melee Avengers defend their compound from the arriving Kang. It’s revealed that without his blitzkrieg surprise attacks and advanced technology, Kang is kind of a screw up and the Avengers manage to beat him in seconds.

However, the film then switches back into the future and shows Kang once again racing to the bridge of his ship to jump back in time. This time though, Jocasta warns him that he already tried to stop the Avengers and was subdued. Angered, Kang demands to be sent back to the moment he is defeated so he can help himself. He emerges just as the Avengers subdue him and his sudden appearance reignites the battle until he is once again put down. The process repeats, becoming a little snappier and more streamlined each time for four or five more incarnations until the audience understands what is happening. Each time the Kangs appears to be defeated, another version of himself comes back from an alternate future timeline to join the battle, giving the Avengers an obligatory army of mooks to punch their way through while still fighting their central antagonist. For no particular reason, I’m just going to leave this here:

It’s a tricky and hard to convey concept, but the Russo Brothers are deft enough filmmakers who have managed to make some pretty convoluted narratives translate well into visuals before so I give them enough credit to believe they could make the audience understand the ludicrously complex mechanics behind this particular kind of time travel in short order.

Meanwhile, inside the compound, the scientists manage to get the time machine to work, but because they can’t control it, they are all flung randomly throughout time with only a few minutes to find their item/recruit before they are whiplashed back to the present. And I’m not gonna lie, this is where my version of ‘Endgame’ devolves into what is, in essence, ‘Fanboy: the Movie.’ If I were writing this hypothetical script, this is where I’d break out all the deep Marvel lore that I know and try to cram as much awesomeness as possible into a series of vignettes where an Avenger arrives at a different place and point in time, meets a famous Marvel character, and brings them back to the battle with Kang.

For example, you bet your ass Ant-Man gets shot into the future where he meets the future version of his daughter who has become her super hero identity of Stature.

Clint goes back in time to save the life of Pietro Markoff, who sacrificed himself to save innocents in ‘Age of Ultron.’

Rocket is flung into space where he meets up with Adam Warlock, Wonder Man, and maybe even the original Guardians of the Galaxy.

Maybe Thor gets tossed back in time to meet up with his long-lost half-sister. Not Hela, but Angela, the demon-hunting creation of Neil Gaiman.

And yes, Tony is absolutely going to meet up and recruit an alternate timeline version of his deceased protégé and bring Spider-Gwen back with him.

Some of the Avengers even go back to moments before the Decimation and bring back their friends who die to join them in the fight in the present, thus preventing the deaths of several of the characters who died in ‘Infinity War.’ And wait a minute, there are a pleathora of other Marvel characters that technically exist in the MCU through tangential properties, right? This would be a great way to bring guys like these into the actual films for a few minutes apiece.

And that’s where we end act two. All the heroes have met and had fun little interactions with a bevy of other heroes either from the past glories, the sidelines, or the potential future of the MCU and have brought them all to the point in time they are needed to fight off Kang’s immeasurable army of future-clones.

And act three is, in true Marvel fashion, a forty- to fifty-minute long extended action sequence where every single hero gets to show off their personality and powers against the ever-growing army of Kang. Ant-Man punches them on an atomic level while Stature grows giant and stomps on them. Spider-Gwen swings between Iron Man and War Machine to take them out like Tarzan on a vine. The Agents of S.H.I.E.L.D. get a brief moment with the Inhumans where they acknowledge how weird this whole thing is. Maybe the Defenders get a chance to make a veiled complaint about their respective Netflix shows being cancelled. Cloak and Dagger team up with the Runaways to tease a potential crossover. Who knows, the possibilities are virtually endless and are almost guaranteed to be fun and exciting.

But despite the combined powers of the Avengers of the past, present, and future, the Kangs just keep coming as infinite potential timelines means infinite potential Kangs all coming back to the same moment when they/he are/is defeated. Though they are winning individual battles, the Avengers are losing the war against overwhelming odds. And just when all seems lost in the endless tide of Kangs, another time travel portal opens up. But instead of Kang coming through, it’s three mysterious figures. While the casual Marvel fan might not be familiar with them, any comic fan worth their salt will be able to identify them immediately.

That’s Thor, Goddess of Thunder (Jane Foster becomes Thor when the other Thor is declared unworthy), Miles Morales (Spider-Man from an alternate universe), and Kamala Khan (an Inhuman superhero called Ms. Marvel), the three undisputed spearheads of Marvel Comics’ campaign to diversify their cast with more gender, racial, and ethnic diversity. But here’s the thing, the characters who emerge from the time portal won’t be the versions of these characters from the comics. They’ll be the future versions of these characters from the comics. Like the future version of female Thor who created a new race of humans after the old ones died out. Like the future version of Miles Morales who’s a dimension-hopping messiah of multiple worlds. Like the future version of Kamala Khan who, in her free time, is the freaking PRESIDENT OF THE UNITED STATES. On a practical level, this is so that Marvel can feel free to cast some bright-eyed teenage actors as the more familiar, younger versions of Miles and Kamala if they decided they want to make movies about them in the future. On a thematic level, this is indicative of the impact that the 'Avengers' has had on both our and their in-universe cultures, inspiring an entire generation of heroes/audiences.

Keep in mind that to keep these appearances from being too oblique, none of these characters, apart from maybe female Thor, will actually be referred to by name. Their imagery and visuals will be unmistakable, but their identities will be inconsequential. All that the Avengers and the audience need to know is that these are super-powerful heroes from the future and they’ve come to help. And they say as much to the remaining Avengers. To paraphrase, they tell the Avengers “Hey, we’re from the future. You guys told us when you trained us that we would need to come back to this specific point in time to help you beat Kang. Oh, and you didn’t tell us to come alone.”

And that’s when a second portal opens behind them.

Now, this is where I kinda have to include a little caveat. The Disney-Fox merger wasn’t technically completed when ‘Endgame’ went into production, but it was already pretty solid and a sure thing before filming started, the kinks just hadn’t been worked out yet. Besides, Sony hadn’t agreed to loosen their hold on the Spider-Man film rights before ‘Captain America: Civil War’ started filming but allowed Marvel to use Peter Parker’s likeness halfway through production and he managed to make the final cut. What I’m trying to say here is that there’s precedent, so it’s not irrational for me to posit that the second portal opens and out jump these guys:

This is a great opportunity to at least tease their involvement, if not outright introduce them ahead of their own feature films somewhere down the line. See, the point of this isn’t just to geek out the fanboys, but to demonstrate that the Marvel vault still has some corners yet untouched. By bringing out these big guns and resetting the status quo, the Avengers are both beating Kang physically and proving him wrong. Kang’s answer to the question looming over the film is that this should be the last ‘Avengers’ movie and the Avengers, and by extension the audience is rebutting with proof that the ‘Avengers’ can and should last for many, many more installments, if for no other reason than it would let people experience more stories from the characters they love and let them meet new characters to fall in love with all over again.

The introduction of these more experienced heroes from the future are enough to start turning the tide, but it still can’t beat a literally limitless army. However, after everyone’s had all their action beats and intros, the fighting stops. Time itself stops and everyone is frozen in place save for Iron Man, Thor, and Captain America, Marvel’s veritable holy trinity. As they wonder just what the hell is going on, Thanos teleports before them, revealing that he’s been watching the battle and has decided that not only is Kang wrong for using Thanos’s philosophy for his own selfish ends, but Thanos himself was wrong for thinking that his actions would save those spared from his Decimation. Using the power of the infinity stones, Thanos brings back everyone he killed, including Gamora and the Avengers killed on Titan earlier. And just to make sure Kang never exists and to complete his turn to the side of good, Thanos sacrifices himself and is wiped out of existence, drifting into dust as those who died in ‘Infinity War.’

However, the action is not yet over. As time resumes, the displaced heroes shimmer away, returning to their original timelines. Almost all of the Kangs vanish as their timelines are erased, save one, the original, who is left kneeling in the muddy, bloody battlefield. He breaks down, weeping as the Avengers surround him, and insists he was only doing it to save the woman he loved. Ever the chaperone, Captain America chides him and points out that Kang was only ever being selfish in his desire for vengeance. Enraged, Kang uses the last of his power to summon a bomb from the future that will wipe out the Avengers. Just like in his first movie, Captain America (and potentially a few others if other actors want an easy way out of the franchise too) heroically throws himself and his shield over the bomb and sacrifices himself to kill Kang and let the other Avengers live.

On that somber note, the Avengers and Guardians of the Galaxy go home and go to work, helping people who were dusted return to their daily lives and let society readjust. Captain America’s funeral is a global event that brings all people together long enough to jumpstart the rebuilding process. At the wake, Tony discreetly discusses with the other Avengers the potential the future holds. Officially calling himself a futurist for the first time in the MCU, Tony makes it his mission to seek out the future heroes he saw and train them into “the champions of tomorrow.”

And thus ends ‘Endgame,’ with the promise of more heroes to come, the guarantee that the Marvel machine isn’t running out of gas anytime soon, and the reassurance that superhero films can still upend their own conventions to provide a thrilling and thought-provoking cinematic experience. Roll credits

It wouldn’t be a Marvel movie without a post-credits tease. In this one, we see Tony driving a truck up a gravel trail in the woods of Canada, making his way up the side of a mountain to a log cabin in a grass clearing on a hill. In the back of the truck is Captain America’s covered-up motorcycle. When he reaches the cabin, Tony gets out of the car and addresses a hidden but intimidating looking figure on the porch. The motorcycle, he says, was left in Cap’s will to an old war buddy named ‘Wolverine.’ Did the guy know anyone by that name?

The camera zooms in on the shadowy figure. Thanks to cinematography tricks and slight of hand, the figure looks large and hairy. However, when they stand up, a puffy fur waist coat falls off of them, revealing that it isn’t the imposing and familiar Hugh Jackman reprising his career-defining role as the most famous X-Man, it’s this kid.

That’s right, Wolverine is not in the MCU. In fact, if I had it my way, Wolverine would never show up in any Marvel movie ever again. Hugh Jackman was so defining in the role that no actor could feasibly take over the part and hope to give a real performance that didn’t feel like a rip off of Jackman’s aggressive style. If you need proof, consider the fact that Warner Bros. has now spent nearly fifty years trying to make a good Superman movie but can’t because Christopher Reeves is still casting his shadow over the character from beyond the grave. So the defined badass mutant who will serve as the focal point for any and all future X-Men movies in the MCU will be his cloned daughter, Laura a.k.a. X-23, a promise that not only will the former Fox properties be treated with respect, but they will usher in the next wave of big Marvel event films. Once ‘Dark Phoenix’ and maybe ‘New Mutants’ are done limping out of theaters on the Fox end, Disney will take full custody of the characters and hopefully get started on a ‘Mojoworld’ adaptation on the double.

So yeah, there you have it, my treatise for how I would write ‘Avengers: Endgame’ if I were paid big bucks by the Disney Corporation to do so. Of course, that is not the case and this amounts to little more than fan fiction, but I hope it at least communicated how intricately the ‘Avengers’ movies use meta narrative to grip and engage its audience.

Did you like my ideas? Why or why not? If you want to read how I would or wouldn’t write other films, let me know in the comments, remember to like, share, subscribe, and feel free to contribute to the Patreon!