In a widely-anticipated union of the unlikeliest of MCU anti-heroes, Shawn Levy brings together the foul-mouthed irreverence of Deadpool (Ryan Reynolds) and the gruff seriousness of Wolverine (Hugh Jackman) in this highly-entertaining contribution to the franchise. Who knew the X Man was Deadpool&#8217;s (aka Marvel Jesus) Anchor Being?
&#8220;These are resonant Marvel anti-heroes because of their imperfections,&#8221; says writer/ director Shawn Levy. &#8220;There&#8217;s a humanity to how messed up they both are. And while they may seem like they have divergent and very different personalities, Wade (Deadpool&#8217;s alter ago) and Logan (Wolverine&#8217;s alter ego) are both really flawed and haunted by a lot of regret and trauma. They are fascinating to us because they cover up their pain in such different ways,&#8221; he adds.
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<h3>MCU &#8211; Phase 5</h3>
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This raft of MCU films embraces the multi-verse storylines forms the basis of Deadpool &amp; Wolverine where the characters are yanked from their quiet lives by the Time Variance Authority (TVA) into a new mission to leave behind a world that they are no longer part of because it no longer needs to exist. The multi-verse storylines have previously been explored, so it was a natural inclusion in Deadpool &amp; Wolverine to plausibly bring these two characters together to maintain the Scared Timeline.
<div id="attachment_45634" style="width: 323px" class="wp-caption alignleft"><img aria-describedby="caption-attachment-45634" class=" wp-image-45634" src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Screenshot-2024-07-23-at-4.57.33 PM-220x300.png" alt="Creative Screenwriting Magazine " width="313" height="427" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Screenshot-2024-07-23-at-4.57.33 PM-220x300.png 220w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Screenshot-2024-07-23-at-4.57.33 PM-110x150.png 110w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Screenshot-2024-07-23-at-4.57.33 PM-150x204.png 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Screenshot-2024-07-23-at-4.57.33 PM.png 459w" sizes="(max-width: 313px) 100vw, 313px" />Shawn Levy. Photo Photo by Jamie McCarthy/ Getty Images for Disney</div>
Screenwriters Deb Wells, Paul Wernick, and Rhett Reese joined forces with Ryan Reynolds and Shawn Levy to come up with a story that was honest to the Deadpool franchise, but also worthy of the MCU. Levy recalls, &#8220;over the course of a few months, it was hard, and frankly, not as fruitful as we thought it would be. We were going to put it aside.&#8221;
They were ready to deliver the bad news to producer Kevin Feige. &#8220;At that juncture where we were starting to think we wait rather than make a sequel that is unworthy of this mantle, Hugh Jackman called.&#8221; The fate-altering epiphany came in August 2022 when Jackman indicated he wanted come back to life to do a Logan and Wade movie.
<blockquote>This is the ultimate antidote to sequel derivations. This is not Deadpool 3. This is Deadpool &amp; Wolverine.</blockquote>
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Any organic pairing of MCU characters is an arduous task. &#8220;For one thing, when you are in the MCU, you instantly get the greatest, most bottomless toy chest imaginable as a storyteller. You have characters, legacy, gadgets, themes, and mythology,&#8221; notes Levy.
With this cornucopia of possibilities, the filmmakers require strict discipline. &#8220;You can&#8217;t just use everything because it&#8217;s fun.&#8221; Creating a film with two iconic characters means you can&#8217;t subjugate one over the other. &#8220;Each deserves their own film and we knew that we needed to honor, both equally, but differently.&#8221;
&#8220;That being said, we wanted a storyline that was worthy of Wade Wilson that allowed him to show sides of himself and wrestle with demons and aspirations that he hasn&#8217;t thus far,&#8221; adds Levy. Similarly, the team had to craft a version of Logan that is not a redux of what audiences have already seen.
The character clash of Wade and Logan presents in the same way as an &#8220;odd couple buddy&#8221; cop film where their relationship is greater than the sum of the parts. &#8220;The paradigm drew inspirations and invocations from Midnight Run, 48 hours, Lethal Weapon, and Planes, Trains &amp; Automobiles.&#8221; These films also  feature unlikely pairings who trigger each other with their flaws.
&#8220;It is a movie where you have two characters who would never choose to spend time with each other, who are forced to do so, and in their differences, you have an incredible recipe for comedy and for conflict, which is itself comedic sometimes. But most critically,  you&#8217;re setting a superstructure, a gradual thought, and a connection.&#8221;
They are different in every way. Deadpool is morally flexible and sexually fluid while Wolverine is stoic and curmudgeonly.
Shawn Levy describes Deadpool &amp; Wolverine as &#8220;subversive&#8221; and &#8220;action-packed,&#8221; but it&#8217;s also very &#8220;moving because it explores the unlikely connection and the mutual redemption that Deadpool and Wolverine find.&#8221;
The movie is deceptive in its light-heartedness, but it&#8217;s rooted in human connection. Wolverine&#8217;s world has already ceased to exist along with those who once cared for him. Deadpool&#8217;s world is about to suffer the same fate, yet Wolverine helps him &#8211; albeit by force. Both want to be somebody and matter and make things right as best they can.
Deadpool &amp; Wolverine are two anti-heroes who do heroic things when they realize why they need to save their universes. &#8220;You don&#8217;t do it because you need it. You do it because they need you.&#8221;
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<div id="attachment_45635" style="width: 788px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-45635" class="wp-image-45635 " src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/TDW-20469_R-1024x683.jpg" alt="Creative Screenwriting Magazine" width="778" height="519" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/TDW-20469_R.jpg 1024w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/TDW-20469_R-150x100.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/TDW-20469_R-250x167.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/TDW-20469_R-768x512.jpg 768w" sizes="(max-width: 778px) 100vw, 778px" />Cassandra Nova (Emma Corrin) Photo by Jay Maidment for 20th Century Studios/ MARVEL</div>
The richness of the MCU ensures that most fans have read every book and comic and watched every film and television show have an intimate knowledge of the Deadpool and Wolverine worlds. This needs to be offset against audiences who are newly introduced to them.
&#8220;I didn&#8217;t want to presume maximum fluency from the audience. There are a tremendous amount of breadcrumbs, nods, and Easter eggs for the fans who do have fluency, but you&#8217;ll notice that the very first scene in the TVA with Matthew Mcfadyen as Mr. Paradox, he defines the TVA and its backstory,&#8221; mentions Levy. He performs double duty by explaining the rules of the TVA to Wade and to the audience. Deadpool even delivers a quick refresher on the Wolverine legacy to ensure both Wade and the audience are up to speed. Levy defines these moments of exposition as &#8220;sacred texts.&#8221;
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<h3>Cultural Nods &amp; Industry Winks</h3>
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Deadpool &amp; Wolverine prides itself on inserting cultural references into the movie &#8211; some subtle (thank you Gossip Girl), some not so subtle. Nothing is sacred, not even screenwriting!
&#8220;The meta-textual awareness is part of the Deadpool franchise and its DNA,&#8221; explains Levy. &#8220;That is arguably for me the most fun to write because you&#8217;re getting to comment on the form while you are also contributing to the form.&#8221; He also identifies a flip side, where he and Reynolds would make several self-referential jokes in the room and dismiss them because they were &#8220;too much.&#8221;
A key tenet of Deadpool is that he regularly breaks the fourth wall. Once again, this needs to be kept in check to avoid undermining the audience&#8217;s investing in the characters and upsetting the cadence and flow of the narrative.
&#8220;Even if they were A+ jokes, we would often take them out because the investment in Deadpool &amp; Wolverine and their journey was the North Star and most important in the film.&#8221;
Shawn Levy strives to infuse every film and TV series he makes with humanity and heart, whether it be a light-hearted comedy like Night At The Museum, boxing robots in Reel Steel, or a frenetic video game actioner like Free Guy. &#8220;My movies need to be as warm-hearted as they are funny and entertaining.&#8221;
<blockquote>There are several scenes late in Deadpool &amp; Wolverine where the movie gets unexpectedly emotional</blockquote>
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Don&#8217;t be fooled by the clownish stunts in Deadpool &amp; Wolverine. It has a serious heart about loving and being loved despite one&#8217;s long list of imperfections. We&#8217;re all here to take care of each other no matter how gnarly things get. In this case, we do it with an edgy subversiveness and a whole lotta cussing.

Shawn Levy Alters The Sacred Timeline To Bring Deadpool & Wolverine Together

Nothing makes a reader&#8217;s mind wander faster than a boring scene which makes them lose interest in your screenplay and scroll or flip through your pages without actively reading or engaging with them. Here are some creative ways to identify and even rectify that:
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<h3>1) Character Stereotypes</h3>
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The characters are a carbon copy of what audiences have seen many times before to the point where they feel they don&#8217;t need to watch the entire movie to find out how it plays out.
If your character is a one-dimensional stereotype like a beef head football jock or a ditzy cheer leader, give them at least one unusual or contradictory trait that will grab your reader&#8217;s attention. This may not always be easy because audiences expect these types of characters to behave in a certain way and will be jarred if they do something that wildly deviates from established norms.
A good tool is to give your characters two common traits to establish their baseline, and one different one in their character triad. Take note of how different that third trait is &#8211; it doesn&#8217;t need to be outlandish, just a few degrees away from what we expect.
A cheer leader will always wave her pompoms. But what if she was also planning the biggest heist in history&#8230; with the jock?
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<h3>2) Over-used Dialogue</h3>
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Most court scenes begin with the presiding judge proclaiming, &#8220;All rise&#8221; and the first sentence a traffic cop utters after they&#8217;ve pulled you over is, &#8220;License and registration, please.&#8221; Much of this dialogue is unavoidable and you can&#8217;t realistically replace it with much else. A judge will never (or almost never) say, &#8220;Wassup courthouse? How y&#8217;all doin&#8217;?&#8221;
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<div id="attachment_45593" style="width: 782px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-45593" class="wp-image-45593 " src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/1400520296000-Judge-Judy-1024x577.jpg" alt="Creative Screenwriting Magazine " width="772" height="436" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/1400520296000-Judge-Judy.jpg 1024w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/1400520296000-Judge-Judy-150x85.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/1400520296000-Judge-Judy-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/1400520296000-Judge-Judy-768x433.jpg 768w" sizes="(max-width: 772px) 100vw, 772px" />Judge Judy. Photo courtesy of CBS Media Ventures</div>
You can modulate the tone of dialogue, delete sections of it, or add an uncomfortable facial expression, gesture, or pause in their speech to change the timbre of the scene. Now your scene becomes a matter of what is said (or not), but how it&#8217;s said when body language comes into play.
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<h3>3) Lack Of Character Connection</h3>
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The emotional bond between two or more characters allows them and the audience to invest in their on-screen relationships.
Many scenes are boring because the characters are interacting without any meaningful bond. How many times have you asked, &#8220;Why are these characters even talking to each other, let alone the subject matter?&#8221;
Such interactions lack a relevant point of view or goal that propels the narrative. Think about how each character feels about the situation in scene and how that changes. Even a yelling scene without any emotional peaks and valleys becomes boring because the characters (and audience) detach. Sure, there is tension and conflict in such scenes, but consider the impact of a steely gaze and zero dialogue where one character waits for the other to make the next move.
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<h3>4) Lack Of Material Stakes</h3>
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A good way to examine this concept is to look at what each character has to win or lose in a situation and how that may influence the story outcome. Do they have any control over the situation? Do they act or react?
Stakes must be ratcheted up a notch or two as the story progresses so that the characters are increasingly worthy of achieving their goals. Success must be earned and really matter to the characters.
Consider our proverbial football jock who must score a touchdown to secure a college football scholarship, as opposed to a hobby footballer getting some cardio exercise. Stakes are a matter of what causes each character to worry and the effects of that worry if the goal isn&#8217;t achieved. It could be external such as a financial loss, or personal such as feeling humiliated by disappointing his family of pro footballers who have attended the said college for generations.
Make the cheerleader lose her pompoms just as she&#8217;s about to enter the field. Are there spares, can they use something else, or will they forfeit their place on the squad? After all, they can hardly go out there without any pompoms hoping nobody will notice.
You can also add sudden changes to time or situations such as mixing up dates and the big game is coming up much closer than they thought or there&#8217;s a wedding (maybe theirs?) on the same day. These complications can be big or small. But they must be significant.
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<h3>5) Too Much Information</h3>
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Don&#8217;t deprive your audience of their desire to actively participate in the story trajectory. They love following the breadcrumbs and piecing together the story beats to find out if the story concludes in the way they anticipated. You can leave out a vital piece of character information such as a disability or criminal record that may affect the outcome. You might take away an essential tool such as an electronic key or security pass to access a restricted area.
There must be a balance to this. If you leave out too much information, your audience will lose interest.
On the flip side, there may be so much going on and your audience becomes bored with the chaos. Similarly, you don&#8217;t need to write extended scenes of routine tasks which don&#8217;t impact the story. We all know how to take a shower and brush our teeth.
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<h3>6) Lack Of Subtext</h3>
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What is happening in a scene on the surface of a scene should only partially reveal what is going on underneath. A character saying and doing everything they are thinking and feeling may not make for the most effective scene delivery. It is not a therapy session. Adding subtext allows the audience to examine a character&#8217;s behaviour and motivations more deeply and add excitement and intrigue in a scene.
A useful way to look at subtext is to ask what a character is actually saying compared to what they mean. It could simply be a matter of tone. There a many ways a character can say, &#8220;Fine&#8221; when asked how they&#8217;re doing.
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<h3>7) Lack Of Surprise</h3>
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Genre films, typically have a pre-ordained ending &#8211; the villains are captured by the heroes, the sparring couple finally get together, or not if it&#8217;s a tragedy. Audiences expect a certain ending or they&#8217;ll rebel.
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<div id="attachment_45594" style="width: 781px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-45594" class="wp-image-45594 " src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/anyone-but-you-trailer_jpg_1200x0_crop_q85-1024x576.jpg" alt="Creative Screenwriting Magazine " width="771" height="434" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/anyone-but-you-trailer_jpg_1200x0_crop_q85-1024x576.jpg 1024w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/anyone-but-you-trailer_jpg_1200x0_crop_q85-150x84.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/anyone-but-you-trailer_jpg_1200x0_crop_q85-250x141.jpg 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/anyone-but-you-trailer_jpg_1200x0_crop_q85-768x432.jpg 768w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/anyone-but-you-trailer_jpg_1200x0_crop_q85.jpg 1200w" sizes="(max-width: 771px) 100vw, 771px" />Bea (Sydney Sweeney) and Ben (Glen Powell) in Anyone But You. Image courtesy of Netflix</div>
Every romantic comedy results in two (or more) characters eventually coming together. But audiences live for the unexpected moments during the journey. Consider the &#8220;meet cute&#8221; moment which forms the foundation of most romcoms. A couple meets at a farmer&#8217;s market, at work, through a mutual friend, or at somebody else&#8217;s wedding. What if they met at a seance or a funeral? Or a divorce party? Consider innovative ways to subvert and innovate the tropes of your story.
Are secrets kept or revealed? Are lies being told or discovered? Is there a new suspect or unexpected foil that changes the story dynamic? Is the identity of a stranger revealed? Does a big choice have to be made and your character can&#8217;t decide? These add weight to your story.
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<h3>8) Lack Of Story Spine</h3>
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Have you ever watched a film or TV show and wondered how a scene relates to the central story spine? Is there a story spine? This is often a consequence of the writer either not fully knowing their story, or there isn&#8217;t enough story to fill a time slot. It&#8217;s thin and padded out with the same plot point told in different ways.
Cobbling together a bunch of scenes over two hours doesn&#8217;t make a good film, Each scene must be a natural precursor and progenitor; a cog in the machine.

Are Your Scenes Boring? 8 Ways To Change That

Everybody loves a story about a person who gives it their all. Then they fall down, but get up and try again. And again, until the world notices. This is the story of comedian George Steeves who made waves at the famed Edinburgh Comedy Festival. George also happens to be gay and have high-functioning Asperger&#8217;s &#8211; a neuro-developmental condition characterized by difficulties with social interactions and non-verbal cues. His journey is the subject of a touching documentary film titled My Life With Asperger&#8217;s.
Enter Arden Pryor (Fat Pizza, where he played Rebel Wilson&#8217;s mom), the executive producer of My Life With Asperger&#8217;s, whose mission was to NOT produce a &#8220;cause film.&#8221; It&#8217;s a human story about a man with a goal. &#8220;The characters must work without the gay stuff,&#8221; states Pryor. &#8220;Steeves is a unique mix of  innocence and determination,&#8221; he continues. Although much of Pryor&#8217;s work focuses on the LGBT+ communities and he actively promotes their causes outside his work, he maintains they aren&#8217;t his exclusive audience.
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<h3>On Creativity</h3>
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He compares his creative process to The Beatles&#8217; songwriting process where they wrote dozens of songs and selected the best ones. He&#8217;s never short of ideas and writes everything down. &#8220;I pursue the ones that don&#8217;t leave me alone and keep coming back.&#8221;
<div id="attachment_45572" style="width: 340px" class="wp-caption alignleft"><img aria-describedby="caption-attachment-45572" class=" wp-image-45572" src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Arden-Pryor-photo-credit-Zoey-Rose-Sanford-225x300.jpg" alt="Creative Screenwriting Magazine" width="330" height="440" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Arden-Pryor-photo-credit-Zoey-Rose-Sanford-225x300.jpg 225w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Arden-Pryor-photo-credit-Zoey-Rose-Sanford-113x150.jpg 113w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Arden-Pryor-photo-credit-Zoey-Rose-Sanford-768x1024.jpg 768w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Arden-Pryor-photo-credit-Zoey-Rose-Sanford-150x200.jpg 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/Arden-Pryor-photo-credit-Zoey-Rose-Sanford.jpg 960w" sizes="(max-width: 330px) 100vw, 330px" />Arden Pryor. Photo by Zoey Rose Sanford</div>
Arden began his entertainment career doing stand up comedy in his native Australia before transitioning to the screen &#8211; mainly in documentaries and hit shows like Fat Pizza and Fix Her Up. Currently, he is first and foremost, a story producer, who views each story &#8220;objectively from an audience perspective, but also from the impartiality of what the story is.&#8221;
The filmmaker onboarded My Life With Asperger&#8217;s during production. He credits director and executive producer, Julianna Brudek, as being the main steward of the project.
Producing partners Arden and Julianna will take a similar narrative approach to their latest project about Ed Buck and the deadly party and play culture. &#8220;We will tell the story of Ed Buck and how meth turned him into a monster. Through his story, we aim to educate people on party and play culture and why meth is killing gay men by the tens of thousands. It&#8217;s made for everyone to watch and learn something, or to see themselves in it. We want to show people how meth is destroying LGBT lives and our communities.&#8221;
Pryor&#8217;s key goal in his work is to &#8220;raise voices we don&#8217;t often hear.&#8221; He ideally works on the &#8220;loudest&#8221; projects where he can insert a &#8220;personal angle or viewpoint&#8221; in order to honestly tell a story. &#8220;You need to be able to say something different or something that&#8217;s unique to your experience in that subject for it to work.&#8221;
Arden Pryor is certainly a versatile writer with projects ranging from kids&#8217; animation to a &#8220;very dark R-rated comedy. I think my voice tends to always have a little bit of a sass to it. There&#8217;s always just a little bit of a bite to what I write. Sometimes it&#8217;s not so soft.&#8221;
&#8220;I like writing anti-hero characters that are off the beaten track. I&#8217;m not very interested in telling the stories of &#8216;Susie from the suburbs.&#8217; I&#8217;m very attracted to unusual characters that are damaged and hurt. People always think that a character&#8217;s damage or hurt has to be dark and dramatic, but they actually make really good comedic characters. I do like projects that kind of blur between the two. I think even with My Life With Asperger&#8217;s, there are some really touching moments in there. There&#8217;s some sad moments and some really funny moments.&#8221;
Pryor&#8217;s experience as a stand up comic allowed him to immediately gauge audience reactions. When he attended a sold out screening of My Life With Asperger&#8217;s, he had a similar experience of reading a crowd.
&#8220;You get a feel for how they&#8217;re absorbing the story. There were a couple of people crying in certain parts and that was very touching for me because it meant we did our job. We took people through an emotional journey. That&#8217;s ultimately what you want; people to feel and experience stuff and give them a point of view that they haven&#8217;t seen before.&#8221;
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<h3>On Sexuality</h3>
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Arden Pryor understands that understanding one&#8217;s sexuality is an evolving process. After his comedy show, George Steeves was on a show called Love On The Spectrum which is about neuro-divergent singles looking for love with people in their community.
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<div id="attachment_45573" style="width: 782px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-45573" class="wp-image-45573 " src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/George-on-Stage-1024x465.png" alt="Creative Screenwriting Magazine " width="772" height="350" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/George-on-Stage-1024x465.png 1024w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/George-on-Stage-150x68.png 150w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/George-on-Stage-250x113.png 250w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/George-on-Stage-768x349.png 768w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2024/07/George-on-Stage.png 1280w" sizes="(max-width: 772px) 100vw, 772px" />George Steeves</div>
&#8220;It had sexual content as it was about George having a sexual awakening. Some people who saw the first show, especially parents of people with Asperger&#8217;s, didn&#8217;t want to see their sons and daughters as having a sexuality.&#8221;
&#8220;There was a woman who complained that it should have been called Sex On The Spectrum because it was so filthy and uncomfortable for her. Most people with Asperger&#8217;s do have sexual urges. They just usually come into their sexual awakening a little later in life,&#8221; notes the filmmaker.
Arden Pryor is thankful for the shifting away from LGBT character stereotypes on our screens. &#8220;I would like to see more off-beat characters. I feel there&#8217;s a lot of LGBT+ content, but a lot of times, it&#8217;s pretty young twinks falling in love. It&#8217;s kind of the same as heterosexual stories.&#8221;
&#8220;I want to see stories about older gay men. I want to see stories about gay men or gay women of different colors. It doesn&#8217;t mean that these stories need to be purely about the sexuality. I want stories where the characters just happen to be gay. Their sexuality is the spice to the main meal.&#8220;

Shawn Levy Alters The Sacred Timeline To Bring Deadpool & Wo...

Are Your Scenes Boring? 8 Ways To Change That

Filmmaker Arden Pryor Combines LGBTQ+ Stories With Neurodive...

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