u/tiMartyn

Overview of Supergirl's Problems

Supergirl is baffling because it should've been good on so many levels, from its great cast to promising source material. Craig Gillespie has consistently made good movies - I, Tonya was even my favorite movie the year it came out. Yet, at every single point when Supergirl sets something up that has potential, it misses the mark: every character arc, every theme, even action sequences.

Despite the solid source material, Kara's journey as a character feels as choppy as the film's editing. Despite the involvement of James Gunn - who has the Guardians of the Galaxy movies on his resume - many of the film's sci-fi locations feel claustrophobic and artificial. At times, the movie looks like it was filmed at Star Tours and Galaxy's Edge at Disneyland - and I'm not just referring to the space shuttle or multiple cantinas. Despite all the effort spent showing how the yellow sun impacts Kara, the film retreats just when it could elevate an action scene into a standout moment. [Spoilers follow...]

>!Lastly, although I had some fun watching Supergirl, it's just way too easy to poke holes in the film, with contrivances beginning as soon as the opening scene when Krem (a trafficker) chooses to steal a sword from Ruthie's family, kills her family in front of her - but doesn't even take Ruthie along with them? Also, why does he care about the sword?!<

>!It would've been smart to make Krypto the emotional core of the film, which seemed to be hinted by Kara's line, "Home is wherever your are, buddy." But the movie abandons that premise, as she suddenly changes her mind, choosing to go to Earth which she declares to be her home instead - after killing a guy and ending her pub crawl days due to undisclosed reasons. The film fails to explain why her pub crawl days were problematic, which should've been easy enough to explain. It also fails to communicate why Supergirl feels like damaged goods and is beyond saving, which is what seemingly leads her to take Krem's life into her own hands.!<

Main Fix

There aren't many movies that manage to have potential, while consistently throwing that potential away simultaneously. Somehow, Supergirl feels unaware of the story it sets up, ditching every payoff it should've had, including the most obvious thing that should've happened: >!Lobo should've killed Krem as a comedic beat after Supergirl convinces Ruthie to walk away. This would've allowed both Kara and Ruthie to have a sense of morality that was coherent with their arcs. It also would've allowed Lobo to be serviceable to the story. Instead, he passively stands in the distance, watching and providing commentary as the scene takes place without any greater purpose.!<

Ultimately, Supergirl is a frustrating entry to the DCU, constantly undermining itself and dismissing its potential to be more than a movie bound for Guardians of the Galaxy comparisons.

4 Alternate Movies

And after giving you my rundown of general problems I had with this movie, this is where my 4 alternate movies come in.

1. Lobo villain movie: Clearly, James Gunn wanted Lobo to be in this movie. And on the surface, it makes total sense - of course Lobo can show up somewhere in the galaxy. But the way it happens in Supergirl is truly bizarre and feels like the sort of thing that happens during a reshoot. Big bar fight, cut to post-bar fight when things are calm, Lobo just casually ends up being somewhere else in the room and leaves - and Supergirl knows who he is. What? She just fought the whole bar, and he was sitting in a corner the whole time? It was awkward. I won't even get into how he could've easily been a bounty hunter tasked with finding Krem, allowing him to join Supergirl and Ruthie on their mission - in a similar style to Thor: Ragnarok grouping together Thor, Hulk, and Valkyrie. Instead, Lobo could've easily been the bad guy who Supergirl claimed he was. We barely got a glimpse of that. In the movie, Lobo is basically just the same as Supergirl, with no clear distinction. In an alternate movie, he could've been the main villain, whether he's tasked with hunting Supergirl, Ruthie, etc.
2. Woman of Tomorrow: Just adapt the book with the proper creative team attached. There were a number of things that went wrong, from visuals to the directorial intent of scenes. Ideally, this movie should've resembled Project Hail Mary.
3. Supergirl - The Extended Krypton Flashback and Revenge Subplot Cut: Maybe open with the flashbacks to Krypton's destruction, setting up Kara's motivation from the first few minutes, instead of over an hour into the movie. Also worth noting how strange it was that her Kryptonian watch is stolen and she gets it back, then we realize it's of sentimental value in the flashback, then it never shows up again... Opening with a flashback sequence would've set a foundation for the film. Alternatively, the movie we got felt incoherent for a number of reasons - and one reason in particular was the fact that Supergirl is bent on Ruthie not getting revenge. Why does Kara care? It seems almost like Kara hints that she was once in a similar state of being, and took someone's life, leading her to regret her actions. I think the movie would've benefitted greatly if we saw that in flashbacks. Maybe it turns out someone else was behind Argo becoming poisoned, and she kills whoever that was, leading her to self-loathing and drinking.
4. Warworld: As I said, I like Craig Gillespie. I also like James Gunn. If you had to have anyone interfere with your movie in post-production, Gunn doesn't seem like such a bad choice. But clearly it didn't help much. If Gunn had directed his own Supergirl movie, similar to a Lobo-centric version of this movie, I think he would've had a lot of fun. It's hard to deny he would've been an ideal candidate for the job. And the villain? Mongul. Or Mongal for the sake of choosing the female iteration - she even showed up in Gunn's The Suicide Squad. Imagine a Supergirl movie where she's forced to fight to the death as a gladiator on Warworld, threatened with Kryptonite, locked up with Lobo, etc. Now, why is she fighting? For Krypto of course. Mongal threatens Supergirl by keeping Krypto, forcing her to take part in the arena. And like that, boom- Krypto is the heart of the movie. The emotion of Krypto's fate isn't a subplot competing with Ruthie. I think it would've been a good time.

Overview of Supergirl's Problems

Supergirl is baffling because it should've been good on so many levels, from its great cast to promising source material. Craig Gillespie has consistently made good movies - I, Tonya was even my favorite movie the year it came out. Yet, at every single point when Supergirl sets something up that has potential, it misses the mark: every character arc, every theme, even action sequences.

Despite the solid source material, Kara's journey as a character feels as choppy as the film's editing. Despite the involvement of James Gunn - who has the Guardians of the Galaxy movies on his resume - many of the film's sci-fi locations feel claustrophobic and artificial. At times, the movie looks like it was filmed at Star Tours and Galaxy's Edge at Disneyland - and I'm not just referring to the space shuttle or multiple cantinas. Despite all the effort spent showing how the yellow sun impacts Kara, the film retreats just when it could elevate an action scene into a standout moment. [Spoilers follow...]

>!Lastly, although I had some fun watching Supergirl, it's just way too easy to poke holes in the film, with contrivances beginning as soon as the opening scene when Krem (a trafficker) chooses to steal a sword from Ruthie's family, kills her family in front of her - but doesn't even take Ruthie along with them? Also, why does he care about the sword?!<

>!It would've been smart to make Krypto the emotional core of the film, which seemed to be hinted by Kara's line, "Home is wherever your are, buddy." But the movie abandons that premise, as she suddenly changes her mind, choosing to go to Earth which she declares to be her home instead - after killing a guy and ending her pub crawl days due to undisclosed reasons. The film fails to explain why her pub crawl days were problematic, which should've been easy enough to explain. It also fails to communicate why Supergirl feels like damaged goods and is beyond saving, which is what seemingly leads her to take Krem's life into her own hands.!<

Main Fix

There aren't many movies that manage to have potential, while consistently throwing that potential away simultaneously. Somehow, Supergirl feels unaware of the story it sets up, ditching every payoff it should've had, including the most obvious thing that should've happened: >!Lobo should've killed Krem as a comedic beat after Supergirl convinces Ruthie to walk away. This would've allowed both Kara and Ruthie to have a sense of morality that was coherent with their arcs. It also would've allowed Lobo to be serviceable to the story. Instead, he passively stands in the distance, watching and providing commentary as the scene takes place without any greater purpose.!<

Ultimately, Supergirl is a frustrating entry to the DCU, constantly undermining itself and dismissing its potential to be more than a movie bound for Guardians of the Galaxy comparisons.

4 Alternate Movies

And after giving you my rundown of general problems I had with this movie, this is where my 4 alternate movies come in.

1. Lobo villain movie: Clearly, James Gunn wanted Lobo to be in this movie. And on the surface, it makes total sense - of course Lobo can show up somewhere in the galaxy. But the way it happens in Supergirl is truly bizarre and feels like the sort of thing that happens during a reshoot. Big bar fight, cut to post-bar fight when things are calm, Lobo just casually ends up being somewhere else in the room and leaves - and Supergirl knows who he is. What? She just fought the whole bar, and he was sitting in a corner the whole time? It was awkward. I won't even get into how he could've easily been a bounty hunter tasked with finding Krem, allowing him to join Supergirl and Ruthie on their mission - in a similar style to Thor: Ragnarok grouping together Thor, Hulk, and Valkyrie. Instead, Lobo could've easily been the bad guy who Supergirl claimed he was. We barely got a glimpse of that. In the movie, Lobo is basically just the same as Supergirl, with no clear distinction. In an alternate movie, he could've been the main villain, whether he's tasked with hunting Supergirl, Ruthie, etc.
2. Woman of Tomorrow: Just adapt the book with the proper creative team attached. There were a number of things that went wrong, from visuals to the directorial intent of scenes. Ideally, this movie should've resembled Project Hail Mary.
3. Supergirl - The Extended Krypton Flashback and Revenge Subplot Cut: Maybe open with the flashbacks to Krypton's destruction, setting up Kara's motivation from the first few minutes, instead of over an hour into the movie. Also worth noting how strange it was that her Kryptonian watch is stolen and she gets it back, then we realize it's of sentimental value in the flashback, then it never shows up again... Opening with a flashback sequence would've set a foundation for the film. Alternatively, the movie we got felt incoherent for a number of reasons - and one reason in particular was the fact that Supergirl is bent on Ruthie not getting revenge. Why does Kara care? It seems almost like Kara hints that she was once in a similar state of being, and took someone's life, leading her to regret her actions. I think the movie would've benefitted greatly if we saw that in flashbacks. Maybe it turns out someone else was behind Argo becoming poisoned, and she kills whoever that was, leading her to self-loathing and drinking.
4. Warworld: As I said, I like Craig Gillespie. I also like James Gunn. If you had to have anyone interfere with your movie in post-production, Gunn doesn't seem like such a bad choice. But clearly it didn't help much. If Gunn had directed his own Supergirl movie, similar to a Lobo-centric version of this movie, I think he would've had a lot of fun. It's hard to deny he would've been an ideal candidate for the job. And the villain? Mongul. Or Mongal for the sake of choosing the female iteration - she even showed up in Gunn's The Suicide Squad. Warworld is basically Thor: Ragnarok within the DC Universe, with a planet dedicated to gladiator matches between imprisoned aliens, ruled by the tyrant Mongul - who has a similar presence to Thanos or Darkseid. Imagine a Supergirl movie where she's forced to fight to the death, threatened with Kryptonite, locked up with Lobo, etc. Now, why is she fighting? For Krypto of course. Mongal threatens Supergirl by keeping her dog, forcing her to take part in the arena. And like that, boom- Krypto is the heart of the movie. The emotion of Krypto's fate isn't a subplot competing with Ruthie. I think it would've been a good time.

Unlike most of the tour, the LA show at The Ford isn't through Ticket Master, it's through the venue site. I've been on the page for an hour, and in the waiting room for way longer than I assumed it'd be. Anyone else in the same spot?

The year is 2030. Doctor Who has finally returned and another fresh era is underway from a brand new creative team.

Alex Lawther is the Doctor. He plays the role like a dad taking his family on a roadtrip, thinking he can handle everything without a problem— only to constantly encounter problems along the way. He's simultaneously deeply wise and ancient, and also hopelessly optimistic. He's a rugged adventurer-explorer. No pretense, not even overly idealistic.

New tone. Think Project Hail Mary combined with the best of Doctor Who audio dramas, primarily the Eighth and Ninth Doctors' newer stories.

13 episodes. Each one with prestige TV level writing, cinematography, acting… 

Daniel Pemberton composes the music.

Almost exclusively two-parters — except for the premiere episode. After the first episode, there are only 2 episodes released per month to spread them out across 6 months.

No fluff, no gimmicks, no twists out of left field, no shallow characters or half-baked ideas.

Doctor Who is properly creepy again. Nothing feels glossy or cartoonish. Adventures across time and space have a sense of eeriness.

Forget putting classic villains on the back burner, only to be replaced by unimaginative forgettable ones. This is the polar opposite of the RTD2 era— which means a few things.

First, the Doctor’s TARDIS isn’t minimalistic and empty. It feels old, lived-in, warm. It’s basically a library. Roomy, full of character, reflecting the Doctor’s wisdom and emphasizing his need for a safe haven outside time and space. Just like this TARDIS concept art I’ve included by Harry Amatt. Please note, everything else featured here was created solely by myself through Photoshop.

Second, there is no single piece of story that requires extensive fan knowledge. Even references to Gallifrey are little to nonexistent until the end. Not even a glimpse of past actors who have played the role. Think back to the rebooted series in 2005. Technically, this Doctor is the Sixteenth— but that’s not a number that gets mentioned anywhere.

1. Welcome, Doctor - It’s business as usual for the Doctor as he investigates an alien entity in modern day London. A young woman named Cheryl, nicknamed Cheri, has noticed the a strange blue box keeps appearing around London. Eventually, their paths cross, while the Doctor encounters the alien entity he had been hunting — a terrifying intergalactic termite-like creature that itself is wood, and lives inside wood. It carves out wooden bodies for itself. And it's aware of the Doctor. "Welcome, Doctor," it says. The Doctor warns Cheri, "Be careful of splinters." Since they're made of wood, the Doctor is unable to use his sonic screwdriver on them. He offers to rehouse them elsewhere in the universe, anywhere in time or space. If they stay here, they'll continue being an invasive species, taking over all trees and wood across Earth. "I can give you a home anywhere. Anywhere in the universe. Any century you want. But you can’t stay here." After the Doctor receives help from Cheri, she asks about what he said, wondering what he meant by rehousing the aliens "anywhere in time or space." He offers her a trip to explain, and she can't believe he lives like this. "Would you like to come along?"
2. Zoo of the Cosmos - Part 1 - In deep space, the Doctor brings Cheri to an intergalactic zoo to give her a taste of space travel. She sees a wide range of alien animals. “All the hits at once.” The Doctor is generally anti-captivity, but this zoo is home to creatures which had been in danger of going extinct. It’s like an intergalactic Noah’s Arc. The zookeepers ask if the Doctor and Cheri would like to join for a rescue mission for an endangered species, to which they agree. But whatever this species the zookeepers thought they were saving… was misidentified. As they bring the creatures back aboard the ship, everything goes wrong as it breaks out.
3. Extinction of the Cosmos - Part 2 - The Doctor and Cheri are faced with the creatures. Some things should go extinct, after all, so that life can survive and thrive.
4. The Mystery of 221B Baker Street - Part 1 - The Doctor brings Cheri to London in 1891, showing her the TARDIS can also travel back in time. Meanwhile, Arthur Conan Doyle encounters Sherlock Holmes and Dr. Watson, which is strange considering he created them. Benedict Cumberbatch and Martin Freeman reprise their roles. Yes, it's a longtime dream of fans, but I think it'd actually work really well. When Doyle, the Doctor, and Cheri are baffled by this mystery, they receive help from Sherlock and Watson. Eventually, they come across clues that would lead them to believe a parasitic entity is turning fiction into reality.
5. The Brain Behind Baker Street - Part 2 - Ultimately, it leads them back to a child who loves Doyle’s stories, using them as a means of escapism, and he’s been chosen by the parasite as its host. The men who had been hypnotized to believe they were the real Sherlock and Watson wake up from their state of mind control.
6. The Inferno Protocol - Part 1 - In the year 5050, a mining organization deep beneath Earth activates the Inferno Protocol, an emergency strategy for if they ever encounter a sentient species underground. The Doctor and Cheri respond to the distress signal and find that the mining crew’s bodies have started to turn into dirt and plants — except for one woman who managed to hide. Swamp-like creatures are revealed, born of the earth, triggered by the geological disturbance.
7. The Inferno Incident - Part 2 - The creatures reveal that the mining organization was aware of the creatures, continuing to send new crews anyway to their own detriment. The Doctor needs to figure out how to keep the peace between the creatures and humanity. Think Swamp Thing meets Planet of the Apes.
8. The Promise of Survival - Part 1 - On another planet, a tribal civilization is collapsing. But then, a massive space station crash lands nearby. After exploring, the tribe utilizes the technology from the station and they make a pact with a secret deity onboard. The Doctor responds to the distress call of the space station society, realizing that whatever this “deity” is that this tribal group has encountered, it likely has ulterior motives. But to the tribe, they see this as their one chance to rebuild and have a future. As the Doctor investigates, he learns the Cybermen had taken over the space station, and a group of sacrificial heroes had made the call to self-destruct. Now, the Cybermen convince the tribe they're gods, and the tribal people believe they're inheriting godhood. And it's true, they'll live forever, but at a cost.
9. The Chrome Conversion - Part 2 - As the tribe is taken over by the Cybermen, the Doctor and Cheri must bring an end to what is left of the Cybermen.
10. The Velvet Requiem - Part 1 - The Doctor brings Cheri to 19th Century Vienna to get away from all the intense life or death stakes. A new opera is making headlines. He begins to notice strange similarities with an alien opera he once encountered, bringing him to think something is amiss.
11. The Plagiarist’s Plot - Part 2 - The Doctor must stop the plagiarist alien who has taken refuge on Earth, disguising himself as a human, and making a fortune off his stolen work. Initially, the Doctor is fine with an alien seeking a new life and harmlessly trying to get by, especially without the advanced technology he’s used to. But, then the Doctor discovers the alien has a time traveling device of its own, and the reason why he chose to come to the 19th Century to make his fortune is sinister, as he plans to invade Earth, with more of his species on the way.
12. The Clockwork Crescendo - Part 1 - The grand finale begins. The TARDIS picks up on disruptions in space. A star dies prematurely. Animals from the intergalactic zoo go extinct years earlier. He checks back in on Earth, trying to ensure Cheri’s safety. As they return to her home, they learn her family doesn’t live there— and there’s no trace of them anywhere. The Doctor tries to figure out what happened, looking for every possible connection. Soon, it’s revealed a large population of Earth is gone, but no one seems to notice. Questions linger, and there’s no time to investigate. That’s when it’s revealed: the Daleks are coming. Now, Cheri’s life is on the line. It’s a full war between Earth and armies of Daleks. The episode ends with a decimated Dalek’s shell creating a high pitched frequency. There’s a message being broadcast inside of its armor… The Doctor uses his sonic screwdriver on the defeated Dalek, enhancing the frequency. The sonic reveals a message being transmitted from the Daleks’ creator, Davros — a threatening message intended for the Doctor. Cheri asks, “Who is that, Doctor?” The Doctor is stunned. For the first time, he appears genuinely frightened.
13. The Davros Directive - Part 2 - The Doctor learns that Davros has cloned himself. In his message, Davros alludes to having even more clones scattered across time to ensure his reign as the Daleks’ creator. Meanwhile, the Daleks are changing history under the order of the cloned Davros. Each copy competes with the other to toy with the Doctor and race towards Dalek supremacy across space and time. In the distant past, the Daleks invade Earth, which is why only half the population exists in the current timeline. The Doctor is overwhelmed. He only has one option: he has to go to Gallifrey for help and plead with the Council of the Timelords, his absolute last resort. He begs them for their help. And once they reluctantly agree, it’s still not an easy resolution. This isn’t just a two-parter. The episode leaves off on a cliffhanger with the text: “The Doctor will return on Christmas Day.”

The year is 2030. Doctor Who has finally returned and another fresh era is underway from a brand new creative team.

Alex Lawther is the Doctor. He plays the role like a dad taking his family on a roadtrip, thinking he can handle everything without a problem— only to constantly encounter problems along the way. He's simultaneously deeply wise and ancient, and also hopelessly optimistic. He's a rugged adventurer-explorer. No pretense, not even overly idealistic.

New tone. Think Project Hail Mary combined with the best of Doctor Who audio dramas, primarily the Eighth and Ninth Doctors' newer stories.

13 episodes. Each one with prestige TV level writing, cinematography, acting… 

Daniel Pemberton composes the music.

Almost exclusively two-parters — except for the premiere episode. After the first episode, there are only 2 episodes released per month to spread them out across 6 months.

No fluff, no gimmicks, no twists out of left field, no shallow characters or half-baked ideas.

Doctor Who is properly creepy again. Nothing feels glossy or cartoonish. Adventures across time and space have a sense of eeriness.

Forget putting classic villains on the back burner, only to be replaced by unimaginative forgettable ones. This is the polar opposite of the RTD2 era— which means a few things.

First, the Doctor’s TARDIS isn’t minimalistic and empty. It feels old, lived-in, warm. It’s basically a library. Roomy, full of character, reflecting the Doctor’s wisdom and emphasizing his need for a safe haven outside time and space. Just like this TARDIS concept art I’ve included by Harry Amatt.

Second, there is no single piece of story that requires extensive fan knowledge. Even references to Gallifrey are little to nonexistent until the end. Not even a glimpse of past actors who have played the role. Think back to the rebooted series in 2005. Technically, this Doctor is the Sixteenth— but that’s not a number that gets mentioned anywhere.

https://preview.redd.it/qaycojdhyq8h1.jpg?width=1754&format=pjpg&auto=webp&s=648f95eec42ba80f9f8c499e54e6d1425a7f3918

1. Welcome, Doctor - It’s business as usual for the Doctor as he investigates an alien entity in modern day London. A young woman named Cheryl, nicknamed Cheri, has noticed the a strange blue box keeps appearing around London. Eventually, their paths cross, while the Doctor encounters the alien entity he had been hunting — a terrifying intergalactic termite-like creature that itself is wood, and lives inside wood. It carves out wooden bodies for itself. And it's aware of the Doctor. "Welcome, Doctor," it says. The Doctor warns Cheri, "Be careful of splinters." Since they're made of wood, the Doctor is unable to use his sonic screwdriver on them. He offers to rehouse them elsewhere in the universe, anywhere in time or space. If they stay here, they'll continue being an invasive species, taking over all trees and wood across Earth. "I can give you a home anywhere. Anywhere in the universe. Any century you want. But you can’t stay here." After the Doctor receives help from Cheri, she asks about what he said, wondering what he meant by rehousing the aliens "anywhere in time or space." He offers her a trip to explain, and she can't believe he lives like this. "Would you like to come along?"
2. Zoo of the Cosmos - Part 1 - In deep space, the Doctor brings Cheri to an intergalactic zoo to give her a taste of space travel. She sees a wide range of alien animals. “All the hits at once.” The Doctor is generally anti-captivity, but this zoo is home to creatures which had been in danger of going extinct. It’s like an intergalactic Noah’s Arc. The zookeepers ask if the Doctor and Cheri would like to join for a rescue mission for an endangered species, to which they agree. But whatever this species the zookeepers thought they were saving… was misidentified. As they bring the creatures back aboard the ship, everything goes wrong as it breaks out.
3. Extinction of the Cosmos - Part 2 - The Doctor and Cheri are faced with the creatures. Some things should go extinct, after all, so that life can survive and thrive.
4. The Mystery of 221B Baker Street - Part 1 - The Doctor brings Cheri to London in 1891, showing her the TARDIS can also travel back in time. Meanwhile, Arthur Conan Doyle encounters Sherlock Holmes and Dr. Watson, which is strange considering he created them. Benedict Cumberbatch and Martin Freeman reprise their roles. Yes, it's a longtime dream of fans, but I think it'd actually work really well. When Doyle, the Doctor, and Cheri are baffled by this mystery, they receive help from Sherlock and Watson. Eventually, they come across clues that would lead them to believe a parasitic entity is turning fiction into reality.
5. The Brain Behind Baker Street - Part 2 - Ultimately, it leads them back to a child who loves Doyle’s stories, using them as a means of escapism, and he’s been chosen by the parasite as its host. The men who had been hypnotized to believe they were the real Sherlock and Watson wake up from their state of mind control.
6. The Inferno Protocol - Part 1 - In the year 5050, a mining organization deep beneath Earth activates the Inferno Protocol, an emergency strategy for if they ever encounter a sentient species underground. The Doctor and Cheri respond to the distress signal and find that the mining crew’s bodies have started to turn into dirt and plants — except for one woman who managed to hide. Swamp-like creatures are revealed, born of the earth, triggered by the geological disturbance.
7. The Inferno Incident - Part 2 - The creatures reveal that the mining organization was aware of the creatures, continuing to send new crews anyway to their own detriment. The Doctor needs to figure out how to keep the peace between the creatures and humanity. Think Swamp Thing meets Planet of the Apes.
8. The Promise of Survival - Part 1 - On another planet, a tribal civilization is collapsing. But then, a massive space station crash lands nearby. After exploring, the tribe utilizes the technology from the station and they make a pact with a secret deity onboard. The Doctor responds to the distress call of the space station society, realizing that whatever this “deity” is that this tribal group has encountered, it likely has ulterior motives. But to the tribe, they see this as their one chance to rebuild and have a future. As the Doctor investigates, he learns the Cybermen had taken over the space station, and a group of sacrificial heroes had made the call to self-destruct. Now, the Cybermen convince the tribe they're gods, and the tribal people believe they're inheriting godhood. And it's true, they'll live forever, but at a cost.
9. The Chrome Conversion - Part 2 - As the tribe is taken over by the Cybermen, the Doctor and Cheri must bring an end to what is left of the Cybermen.
10. The Velvet Requiem - Part 1 - The Doctor brings Cheri to 19th Century Vienna to get away from all the intense life or death stakes. A new opera is making headlines. He begins to notice strange similarities with an alien opera he once encountered, bringing him to think something is amiss.
11. The Plagiarist’s Plot - Part 2 - The Doctor must stop the plagiarist alien who has taken refuge on Earth, disguising himself as a human, and making a fortune off his stolen work. Initially, the Doctor is fine with an alien seeking a new life and harmlessly trying to get by, especially without the advanced technology he’s used to. But, then the Doctor discovers the alien has a time traveling device of its own, and the reason why he chose to come to the 19th Century to make his fortune is sinister, as he plans to invade Earth, with more of his species on the way.
12. The Clockwork Crescendo - Part 1 - The grand finale begins. The TARDIS picks up on disruptions in space. A star dies prematurely. Animals from the intergalactic zoo go extinct years earlier. He checks back in on Earth, trying to ensure Cheri’s safety. As they return to her home, they learn her family doesn’t live there— and there’s no trace of them anywhere. The Doctor tries to figure out what happened, looking for every possible connection. Soon, it’s revealed a large population of Earth is gone, but no one seems to notice. Questions linger, and there’s no time to investigate. That’s when it’s revealed: the Daleks are coming. Now, Cheri’s life is on the line. It’s a full war between Earth and armies of Daleks. The episode ends with a decimated Dalek’s shell creating a high pitched frequency. There’s a message being broadcast inside of its armor… The Doctor uses his sonic screwdriver on the defeated Dalek, enhancing the frequency. The sonic reveals a message being transmitted from the Daleks’ creator, Davros — a threatening message intended for the Doctor. Cheri asks, “Who is that, Doctor?” The Doctor is stunned. For the first time, he appears genuinely frightened.
13. The Davros Directive - Part 2 - The Doctor learns that Davros has cloned himself. In his message, Davros alludes to having even more clones scattered across time to ensure his reign as the Daleks’ creator. Meanwhile, the Daleks are changing history under the order of the cloned Davros. Each copy competes with the other to toy with the Doctor and race towards Dalek supremacy across space and time. In the distant past, the Daleks invade Earth, which is why only half the population exists in the current timeline. The Doctor is overwhelmed. He only has one option: he has to go to Gallifrey for help and plead with the Council of the Timelords, his absolute last resort. He begs them for their help. And once they reluctantly agree, it’s still not an easy resolution. This isn’t just a two-parter. The episode leaves off on a cliffhanger with the text: “The Doctor will return on Christmas Day.”

https://preview.redd.it/ca97goueyq8h1.jpg?width=1754&format=pjpg&auto=webp&s=b24bd5b05dda6d2b05c8ef8aedb68b6117c49d8a

The year is 2030. Doctor Who has finally returned and another fresh era is underway from a brand new creative team.

Alex Lawther is the Doctor. He plays the role like a dad taking his family on a roadtrip, thinking he can handle everything without a problem— only to constantly encounter problems along the way. He's simultaneously deeply wise and ancient, and also hopelessly optimistic. He's a rugged adventurer-explorer. No pretense, not even overly idealistic.

New tone. Think Project Hail Mary combined with the best of Doctor Who audio dramas, primarily the Eighth and Ninth Doctors' newer stories.

13 episodes. Each one with prestige TV level writing, cinematography, acting… 

Daniel Pemberton composes the music.

Almost exclusively two-parters — except for the premiere episode. After the first episode, there are only 2 episodes released per month to spread them out across 6 months.

No fluff, no gimmicks, no twists out of left field, no shallow characters or half-baked ideas.

Doctor Who is properly creepy again. Nothing feels glossy or cartoonish. Adventures across time and space have a sense of eeriness.

Forget putting classic villains on the back burner, only to be replaced by unimaginative forgettable ones. This is the polar opposite of the RTD2 era— which means a few things.

First, the Doctor’s TARDIS isn’t minimalistic and empty. It feels old, lived-in, warm. It’s basically a library. Roomy, full of character, reflecting the Doctor’s wisdom and emphasizing his need for a safe haven outside time and space. Just like this TARDIS concept art I’ve included by Harry Amatt.

Second, there is no single piece of story that requires extensive fan knowledge. Even references to Gallifrey are little to nonexistent until the end. Not even a glimpse of past actors who have played the role. Think back to the rebooted series in 2005. Technically, this Doctor is the Sixteenth— but that’s not a number that gets mentioned anywhere.

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1. Welcome, Doctor - It’s business as usual for the Doctor as he investigates an alien entity in modern day London. A young woman named Cheryl, nicknamed Cheri, has noticed the a strange blue box keeps appearing around London. Eventually, their paths cross, while the Doctor encounters the alien entity he had been hunting — a terrifying intergalactic termite-like creature that itself is wood, and lives inside wood. It carves out wooden bodies for itself. And it's aware of the Doctor. "Welcome, Doctor," it says. The Doctor warns Cheri, "Be careful of splinters." Since they're made of wood, the Doctor is unable to use his sonic screwdriver on them. He offers to rehouse them elsewhere in the universe, anywhere in time or space. If they stay here, they'll continue being an invasive species, taking over all trees and wood across Earth. "I can give you a home anywhere. Anywhere in the universe. Any century you want. But you can’t stay here." After the Doctor receives help from Cheri, she asks about what he said, wondering what he meant by rehousing the aliens "anywhere in time or space." He offers her a trip to explain, and she can't believe he lives like this. "Would you like to come along?"
2. Zoo of the Cosmos - Part 1 - In deep space, the Doctor brings Cheri to an intergalactic zoo to give her a taste of space travel. She sees a wide range of alien animals. “All the hits at once.” The Doctor is generally anti-captivity, but this zoo is home to creatures which had been in danger of going extinct. It’s like an intergalactic Noah’s Arc. The zookeepers ask if the Doctor and Cheri would like to join for a rescue mission for an endangered species, to which they agree. But whatever this species the zookeepers thought they were saving… was misidentified. As they bring the creatures back aboard the ship, everything goes wrong as it breaks out.
3. Extinction of the Cosmos - Part 2 - The Doctor and Cheri are faced with the creatures. Some things should go extinct, after all, so that life can survive and thrive.
4. The Mystery of 221B Baker Street - Part 1 - The Doctor brings Cheri to London in 1891, showing her the TARDIS can also travel back in time. Meanwhile, Arthur Conan Doyle encounters Sherlock Holmes and Dr. Watson, which is strange considering he created them. Benedict Cumberbatch and Martin Freeman reprise their roles. Yes, it's a longtime dream of fans, but I think it'd actually work really well. When Doyle, the Doctor, and Cheri are baffled by this mystery, they receive help from Sherlock and Watson. Eventually, they come across clues that would lead them to believe a parasitic entity is turning fiction into reality.
5. The Brain Behind Baker Street - Part 2 - Ultimately, it leads them back to a child who loves Doyle’s stories, using them as a means of escapism, and he’s been chosen by the parasite as its host. The men who had been hypnotized to believe they were the real Sherlock and Watson wake up from their state of mind control.
6. The Inferno Protocol - Part 1 - In the year 5050, a mining organization deep beneath Earth activates the Inferno Protocol, an emergency strategy for if they ever encounter a sentient species underground. The Doctor and Cheri respond to the distress signal and find that the mining crew’s bodies have started to turn into dirt and plants — except for one woman who managed to hide. Swamp-like creatures are revealed, born of the earth, triggered by the geological disturbance.
7. The Inferno Incident - Part 2 - The creatures reveal that the mining organization was aware of the creatures, continuing to send new crews anyway to their own detriment. The Doctor needs to figure out how to keep the peace between the creatures and humanity. Think Swamp Thing meets Planet of the Apes.
8. The Promise of Survival - Part 1 - On another planet, a tribal civilization is collapsing. But then, a massive space station crash lands nearby. After exploring, the tribe utilizes the technology from the station and they make a pact with a secret deity onboard. The Doctor responds to the distress call of the space station society, realizing that whatever this “deity” is that this tribal group has encountered, it likely has ulterior motives. But to the tribe, they see this as their one chance to rebuild and have a future. As the Doctor investigates, he learns the Cybermen had taken over the space station, and a group of sacrificial heroes had made the call to self-destruct. Now, the Cybermen convince the tribe they're gods, and the tribal people believe they're inheriting godhood. And it's true, they'll live forever, but at a cost.
9. The Chrome Conversion - Part 2 - As the tribe is taken over by the Cybermen, the Doctor and Cheri must bring an end to what is left of the Cybermen.
10. The Velvet Requiem - Part 1 - The Doctor brings Cheri to 19th Century Vienna to get away from all the intense life or death stakes. A new opera is making headlines. He begins to notice strange similarities with an alien opera he once encountered, bringing him to think something is amiss.
11. The Plagiarist’s Plot - Part 2 - The Doctor must stop the plagiarist alien who has taken refuge on Earth, disguising himself as a human, and making a fortune off his stolen work. Initially, the Doctor is fine with an alien seeking a new life and harmlessly trying to get by, especially without the advanced technology he’s used to. But, then the Doctor discovers the alien has a time traveling device of its own, and the reason why he chose to come to the 19th Century to make his fortune is sinister, as he plans to invade Earth, with more of his species on the way.
12. The Clockwork Crescendo - Part 1 - The grand finale begins. The TARDIS picks up on disruptions in space. A star dies prematurely. Animals from the intergalactic zoo go extinct years earlier. He checks back in on Earth, trying to ensure Cheri’s safety. As they return to her home, they learn her family doesn’t live there— and there’s no trace of them anywhere. The Doctor tries to figure out what happened, looking for every possible connection. Soon, it’s revealed a large population of Earth is gone, but no one seems to notice. Questions linger, and there’s no time to investigate. That’s when it’s revealed: the Daleks are coming. Now, Cheri’s life is on the line. It’s a full war between Earth and armies of Daleks. The episode ends with a decimated Dalek’s shell creating a high pitched frequency. There’s a message being broadcast inside of its armor… The Doctor uses his sonic screwdriver on the defeated Dalek, enhancing the frequency. The sonic reveals a message being transmitted from the Daleks’ creator, Davros — a threatening message intended for the Doctor. Cheri asks, “Who is that, Doctor?” The Doctor is stunned. For the first time, he appears genuinely frightened.
13. The Davros Directive - Part 2 - The Doctor learns that Davros has cloned himself. In his message, Davros alludes to having even more clones scattered across time to ensure his reign as the Daleks’ creator. Meanwhile, the Daleks are changing history under the order of the cloned Davros. Each copy competes with the other to toy with the Doctor and race towards Dalek supremacy across space and time. In the distant past, the Daleks invade Earth, which is why only half the population exists in the current timeline. The Doctor is overwhelmed. He only has one option: he has to go to Gallifrey for help and plead with the Council of the Timelords, his absolute last resort. He begs them for their help. And once they reluctantly agree, it’s still not an easy resolution. This isn’t just a two-parter. The episode leaves off on a cliffhanger with the text: “The Doctor will return on Christmas Day.”

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Have you noticed it doesn’t add up?

Toy Story 4 opens with a flashback to 9 years ago when Bo Peep left Andy’s.

Then, she says she’s been on solo adventures for 7 years.

Then, she says she was at an antique store “for years gathering dust.”

Then, she says she was with a girl after leaving Andy’s for years until she grew up and got rid of her.

Besides the Sequel Trilogy, many Disney Star Wars projects have decent core premises. For example, the main problem with Solo: A Star Wars Story wasn’t so much giving Han a backstory- we had already seen that in the Expanded Universe. But the execution of Solo was just all wrong. The problem with Obi-Wan Kenobi wasn’t filling in the gaps between Revenge of the Sith and A New Hope. Again, the execution was poor. This applies for almost everything: The Book of Boba Fett, Ahsoka, Maul: Shadow Lord, The Mandalorian and Grogu, etc. The list is extensive. If each project had a decent creative team, they could've looked completely different. They didn't have to be content slop for Disney+ in the vein of Dave Filoni's animated stuff.

One of the obvious problems is the output of content and “cinematic universe” synergy between projects. It's very obvious that Lucasfilm was trying to go the MCU route. And you know what? Even that isn’t entirely a bad idea. Every movie studio is trying to do the same thing because the MCU was so successful. Again, the EU could’ve been done justice if it was adapted well and had that MCU methodology behind it. Personally, it's not how I would've done it, but it's not like it was entirely a bad concept. It can work.

So, what if Lucasfilm had successfully tried to replicate the MCU with the projects they chose to make? What if they accepted the source material already existed, like the MCU?

Bottom line: what is the best case scenario for every Disney Star Wars project that's either come out or has been announced?

*This isn’t just about what I want. It’s about what Lucasfilm could’ve easily done successfully. Obviously, they often chose the worst path possible instead. Here’s the alternate timeline chronological order of release from 2016 to now:

Of course, this list has to begin with the Thrawn Trilogy taking the place of the sequels.

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The Thrawn Trilogy (movies): These movies would likely alter the books somewhat, as actors would be older, new ideas might be necessary for the sake of adaptation, etc. In the best case scenario, these movies share one director and a general creative team which ought to involve Timothy Zahn. Maybe Rogue One's director Gareth Edwards should've helmed the Sequel Trilogy, which would've included Star Wars: Episode VII - Heir to the Empire, Star Wars: Episode VIII - Dark Force Rising, and Star Wars: Episode IX - The Last Command. They would end with the promise for more stories about the original trio, the New Republic, and the New Jedi Order.

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Rogue One (movie): In the meantime, Rogue One would be made- but in the best case scenario for Disney, they wouldn’t have needed to rewrite and reshoot most of it in post production. Tony Gilroy would’ve been on the project from the start.

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Andor (limited series): No notes. Based off the movie’s success, the Andor series would get the green light with two seasons— and it’d be exactly the way it was. It would’ve been the first Star Wars show in this alternate timeline, instead of Mando.

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Solo (series): In line with Andor, another Rebel hero would get his own series. Instead of a movie, Han Solo would have a show depicting his backstory. It never made sense to elevate his character to a movie. It just would never have the stakes necessary for a movie involving Han. The show could have a similar production value to The Mandalorian, with a story inspired by Han’s EU books. All of these factors would help it be far better received than the actual movie. No reshoots or weird unresolved plot lines, no weirdly dark tone, no repeated character arc for Han. Just a fun adventure show. Maybe each season adapts a different book in the EU’s Han Solo Trilogy. 

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The Kenobi Trilogy (movies): Besides the sequels, the Obi-Wan Kenobi show is the biggest missed opportunity by Disney. If we had any hope left for Disney Star Wars, it was gone after the show came out. Because of the way things went with Rogue One and Solo requiring extensive reshoots, Lucasfilm lost money and pivoted from spin-off movies. But what if they hadn’t? What if Kenobi got to be the movie trilogy that it was originally intended to be? The original movie treatment by Stuart Beattie was surprisingly decent. You should go look for it. The best case scenario for the Kenobi Trilogy is an epic adventure with the prequels’ best actor, Ewan McGregor. There wouldn't be awkward gags with young Leia, or major contradictions to canon involving Luke or Darth Vader.

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Boba Fett vs the Galaxy (movie): After The Mandalorian, a Boba Fett project felt redundant. The Book of Boba Fett was a bizarre product and I don’t think anyone even knows why it turned out to be so bad. But, Boba was originally slated to have a movie. Like Kenobi, it was turned into a show after the spin-off movies became an abandoned initiative. And of course, Disney made the wrong choice yet again. A Boba show could’ve been like The Mandalorian. Of course, that concept was already done. So what if it was a movie? What would that be like? Well, I think it’s likely easier to pull off a Boba movie than a Mando movie- and it’s because you could afford to do a fun, gritty, action packed Boba movie that doesn’t require him to be a hero of any kind. A Boba Fett movie could’ve followed Rogue One’s trend of filling in the gaps between films. Similar to Kenobi, it could’ve also filled in the story of the Original Trilogy. My pitch is simple- a Boba Fett movie that overlaps with the last act of The Empire Strikes Back, and leads right into Return of the Jedi. After Boba acquires Han’s frozen body in carbonite, he has to make the trek to Jabba’s Palace. And now every bounty hunter is after him to retrieve Solo and get the reward from Jabba. It would be John Wick as Boba Fett. He fights off every bounty hunter along the way, from Bossk to Dengar, IG-88, etc. Unlike The Book of Boba Fett, he doesn’t come back after being swallowed by the pit. A Boba project should’ve always just been set during the OT era. That’s a part of the character’s appeal for me.

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Shadows of the Empire (limited series): One of the first multimedia projects in the EU was Shadows of the Empire, which was also set after The Empire Strikes Back. Similar to my Boba concept, it also overlapped with Empire. It wasn’t an extremely popular story, but it had a lot of good ideas. There are a lot of different directions this story could go, but it accomplishes something Disney was trying to do and builds it into a pre-established concept that we already kind of like. Shadows of the Empire could go the Andor route with emphasis on the underworld syndicates. It could even be an animated show, which would mean actors wouldn't be de-aged or recast since animation could depict them at their proper age in the timeline. It could leap off the Solo show with characters like Lando returning. It could be the Mandoverse level crossover that Lucasfilm wanted to do with a botched version of Heir to the Empire, which no longer seems to be happening after the failed Mando movie.

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The Mandalorian (series): Similarly, projects like Solo, Boba Fett, and Shadows of the Empire could easily be relevant to The Mandalorian they existed before the show debuted. In the best case scenario, The Mandalorian’s first two seasons would be basically the same, with a third jumping off into new territory without Grogu around at all.

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Agents of the New Republic (series): Rangers of the New Republic was a series that would’ve likely been canceled no matter what, but there are definitely ways it could’ve filled in the gaps and established the politics of the New Republic. It likely would’ve gone the Mando route if it got made, but I would’ve liked to see a New Republic show more in the style of Andor, with spies who are chasing down Imperial remnants after ROTJ. Mon Mothma could’ve shown up as a key character, making the show feel like a successor to Andor. It shouldn’t have ever been what Lucasfilm intended the show to be. If Tony Gilroy was ever going to return, this would be the project.

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Skeleton Crew (animated series): Why wasn’t this show animated? The choice for it to be live-action didn’t seem to help it much. It’s unclear if Disney intended for this series to be more successful, or if it’ll even come back someday. Maybe it’s what they wanted it to be? I think it’s possible the show would’ve had a bigger audience if it was animated, instead of trying to capture the Stranger Things buzz with a live-action adventure show.

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Knights of the Old Republic Trilogy (movies): The Acolyte was an objective failure that cost way too much money to make. It treaded on ideas from Knights of the Old Republic- a project that feels like a no-brainer for Lucasfilm to adapt. It’s almost happened, but still hasn’t for some reason. If they were smart, they wouldn’t make any High Republic or pre-Phantom Menace live-action shows or movies besides Knights of the Old Republic. After the sequels and the Kenobi Trilogy, it only makes sense to go in a fresh direction. But not too fresh, as they should’ve known we all like this era's stories.

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Knights of the Old Republic spin-offs (multiple series): I think KOTOR in the movies has easy potential to spur spin-offs if done right, in a similar way to the original Clone Wars multimedia content. It’s basically a Game of Thrones-style property in its own right. Multiple spin-off series could easily expand the era and tie into the movies in the way that the MCU wish they could with their shows.

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Rebels (live-action series): Ahsoka was a show that clearly wanted to be something else, and that’s a live-action continuation of Rebels. So, why not? With completely different scripts that don’t just meander and bounce around between characters being lost in the galaxy somewhere, a live-action Rebels show set after Return of the Jedi could’ve done something more interesting than the Ahsoka show. In this alternate version of events, it could’ve served as a prequel to the Thrawn Trilogy- and wouldn’t have made him the main villain. Instead, Baylon would’ve been the main threat.

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Rogue Squadron (movie): This is the one cancelled movie by Lucasfilm that could’ve done something right like Rogue One did. Because of Patty Jenkins’ career-ending Wonder Woman sequel, it didn’t happen. But even with Starfighter coming next year, there’s clear potential behind the idea of X-Wing pilots carrying their own movie. In the EU, these were some fan favorite concepts and characters.

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Lando (series): I don’t know if the last news of the canceled Lando project was a movie or a show, but it would’ve been an easy one to pull off. This could’ve been a fun adventure show set before the OT, during the Solo series, and even doing the Rogue One thing of lasting up until the moment when Lando enters the scene in The Empire Strikes Back.

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Jedi Survivor (live-action series): I’m not necessarily a fan of the Fallen Order video games, but it’s hard to dismiss the potential of a spin-off show based on them. Somehow, Disney saw the games’ success and the main actor’s comments about wanting to be in a live-action project, and they chose not to do anything. A Cal Kestis show could’ve accomplished what Disney failed to do in Ahsoka’s show. The actor did motion capture for his character so he already looks the same, making for an easy transition between mediums. This could’ve easily been a series set in the same tone as The Mandalorian, and he could’ve ended up crossing over in the live-action Rebels/Ahsoka show. And it could still happen.

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Dawn of the Jedi Trilogy (movies): Instead of a one-off movie, this premise deserves the trilogy treatment. I can’t speak to it too much since the movie might not even get made, as James Mangold hasn’t had any updates. But there’s plenty of material in the EU that could be expanded across multiple films, and it could build nicely off a KOTOR Trilogy.

Starfighter (movie): This isn’t one we can speculate on much either. In the best case scenario, this is a fun ride that tries to replicate the movie going experience of Top Gun.

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Legacy of the Jedi Trilogy (movies): Will Rey ever come back to the movies? If rumors are true, she’ll probably appear in Starfighter as a cameo. But in this alternate version of events, a New Jedi Order Trilogy would look different. At this point, there have been multiple OT-adjacent trilogies (Thrawn and Kenobi) and multiple pre-PT trilogies (KOTOR and Dawn of the Jedi). Now, it’s time to go forwards past the Thrawn Trilogy and maybe even past Luke’s death to see the future of the Jedi Order. The EU is so rich with stories that could be adapted, it’s hard to even know where to start. It could involve Talon, Luke’s son Ben, etc.

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Maul (live-action series): If the recent Maul animated show was live-action, I think a lot more of us would’ve checked it out. Instead, I was indifferent toward it. A Maul show with Ray Park returning, good lightsaber choreography, and even a fight with Vader could’ve caused real buzz if they didn’t choose for it to all be in animation. It could’ve easily gone the Mando route as a show with a similar budget. Even if Maul: Shadow Lord was a show you enjoyed, I struggle to imagine you wouldn’t have liked it more if it was live-action.

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The animated shows and an animated Luke Skywalker series: It’s easy to forget about all of the animated content they’ve managed to create. Visions is a fun project, but otherwise, Filoni’s take on Star Wars has dominated animation- Maul, Bad Batch, multiple anthology shows. I don’t know if they turned out the way they hoped. It seems to be working for them, even if I’m not invested. But it definitely seems like a missed opportunity that they haven’t done any OT-adjacent adaptations of EU books involving Luke, and I think that project would be a safe bet that pleases fans. If Filoni insisted on expanding Ahsoka’s character, this would’ve been the place to do it- an animated series set during Luke’s Jedi Academy days, which could easily even involve Grogu, as it would be set after The Mandalorian’s second season. Like Shadows of the Empire, it wouldn't be required to recast actors or de-age anyone, because animation would allow characters to be their proper age in the timeline.

And that’s it. If Lucasfilm was competent with their own ideas, things might look a little more like this. It isn't exactly how I would've liked it, but there was an alternate way to do their same ideas more strategically. They haven’t always been completely off-base with announced projects- they just need to coordinate and plan things out, instead of throwing everything at a wall to see what sticks. It might not always be what I want to see in movies or shows… but there’s a smarter way to do everything they’ve tried to do.

Even Jon Favreau, who directed The Mandalorian and Grogu, doesn't understand why he received the assignment to make the show into a movie.

>Favreau openly admitted he doesn’t entirely understand why Lucasfilm selected The Mandalorian and Grogu as the movie for franchise’s theatrical comeback.

It's accessible through the Aurebesh text on the sidebar. Just let us know if there's anything worth adding to the list.

Just message me! Will let you know then about tickets.

Think back to a time before Disney acquisition. We assume Star Wars is done as a franchise after Revenge of the Sith. But over a decade later, a new movie is in the works. What movie would you have liked to see? Just an Expanded Universe adaptation? A spin-off about one character? A prequel to the prequels?

The most obvious answer is probably something based around Knights of the Old Republic. Otherwise, a whole new saga about the rebuilt Jedi Order. But, the truly best idea has to be a Kenobi movie. It says a lot that none of these have happened.