Does anybody else feel like we are in an episode of to catch a predator? That we are at the point between where the perp gets up from the table after being confronted by the host and is walking to the door? Hear me out... The perv chats up the girl online, says all his nasty shit and agrees to meet her at her home. Drives there and sees her at the door, enters and sits down at the table all ready to get his freak on thinking he pulled off this ‘capture of a unicorn moment’ when in walks the host.... instant shitting of pants moment and realization that he’s fucked. The host asks why he did what he did and if he understands why it was wrong yada yada yada.....As they speak a small calm falls over the perv thinking if I just talk this out I’m cool, I’ll get through this and maybe, just maybe I pulled this off... I’m gonna get out of this. The interview ends, perv gets up and walks to the door....
and that my friends is where we are in the story....
the point where the mother fucker actually thinks he escaped punishment. Asshole all unpuckered and walking to the door with a sense of relief....But little does the the fucker know that on the other side of the door is the US marshals about to lay the smack down....
I really feel we are in that brief moment of ‘calm’ before the storm as Biden is walking toward the door feeling he dodged a major bullet.....little does he know
It would be hilarious to be watching a live feed of the capitol when he comes in "Hello, I'm Chris Haaaaansen"... then they all scatter like cockroaches.
Why don’t you just have a seat over there ?
hahaha. soo tell me what youre doing here tonight with a 13 year old...
Look into Save the Cat. It is a formula for writing a great movie: Save the Cat!
Snyder's nonfiction book Save the Cat! The Last Book on Screenwriting You'll Ever Need was the number one selling book among screenwriting manuals on Amazon and in 2018 is on its 34th printing.[10] The book describes in detail the structure of the monomyth or hero's journey, providing a by-the-minute pattern for screenwriting.[11] Origin of the title
The title Save the Cat! was coined by Snyder to describe a decisive moment when the protagonist demonstrates that they are worth rooting for. Snyder writes, "It's the scene where we [first] meet the hero", in order to gain audience favor and support for the main character right from the start. In the opening scene of the movie Frequency, for example, Frank Sullivan, played by Dennis Quaid, is a veteran firefighter who jumps into a manhole to save two workers from a gas explosion. Prior to his death-defying rescue, his chief warns, "Frank, you're not going to make it. There's not enough time." Frank, a true hero, does not seem overly alarmed. This is what he does. His concern is primarily for the men below as he confidently jokes, "What, miss the World Series? Not a chance." From this moment on, the audience is fully invested in Frank's well-being and rooting for him to succeed.
According to Snyder, this crucial element is missing from many of today's movies. He referenced Lara Croft: Tomb Raider – The Cradle of Life (2003) as being a film that focused on making the character Lara Croft "cool" and sexy (via a "new latex body suit for Angelina Jolie") instead of likable. An estimated $95 million was spent on this film, and it only grossed $156.5 million worldwide ($65.6 million in the U.S.).[12] This sequel did not lose money, but it earned considerably less than the original Lara Croft: Tomb Raider (2001), which grossed $274.7 million worldwide ($131.1 million in the U.S.).[13]
In his book, Snyder gave greatest emphasis on the importance of structure through his Blake Snyder Beat Sheet or the "BS2" which includes the 15 essential "beats" or plot points that all stories should contain.
Snyder's method expanded the 15 beats further into 40 beats, which are laid out on "The Board." The Board is divided into 4 rows, with each row representing a quarter of the story, namely the 1st Act, the 1st half of the 2nd Act, the 2nd half of the 2nd Act, and the 3rd Act.
Snyder also introduced 10 genres in his book that distinguished how stories are structured. According to Snyder, standard genre types such as Romantic Comedy, Epic or Biography did not say much about the story, only the type of movie it is. Snyder's system explored genre more fully, with categories such as "Monster in the House", "Golden Fleece", "Buddy Love" and others.