What we can learn from ‘Let’s Go’

Armageddon. Ragnarok. The end of all things. Almost every culture and mythology has its version of the moment when everything ends and the human race is wiped out.

But what if someone survived?

A few days ago, I came across the above music video, which tells the story of a Chinese astronaut who devotes his life to making it to the Moon, only for it to be all for nothing. Though only a little over three minutes long, it’s a gripping story, so let’s take a look and see what it does well.

You audience admires determined, focused characters

Though he gets no lines, or even a name, the astronaut in the video gets our attention thanks to his strength of will: Thanks to a very efficient montage, we see him devoting everything to accomplishing his dream of getting on the Moon, sacrificing joy, happiness, or even love. Yet, we still root for him to succeed: How many of us wish we could devote every waking moment of our lives to accomplishing our dreams? Sadly, many of us can’t, which makes us envious and (begrudgingly) admiring of those who can. The same goes for fictional characters. Perhaps your character wants to become president, or go into outer space, or win a spelling bee. Seeing them striving to accomplish a dream makes for compelling drama as they learn whether their dream is really worth everything they’re sacrificing.

It’s important to note that determined, focused characters don’t need to be heroes. Consider the T-800 and the T-1000 in the first two Terminator films, Sauron from ‘The Lord of the Rings,’ and the Thing from the 1982 Universal film of the same name: All three have solid, achievable goals (kill John Conner, take over the world, and take over the world by assimilating everyone on it), and stop at nothing to achieve those goals. Both antagonists and protagonists benefit from laser-like focus, and when their strength of wills clash, it can make for some of the most compelling drama ever put to page or screen. Need proof? Consider Luke Skywalker and Darth Vader in ‘Return of the Jedi’: The former wants to redeem his fallen father, and the latter wants to convert him to the dark side. Neither will budge, and their duel of wits becomes what is arguably the most dramatic sequence of any Star Wars film:

Consider exploring what would happen to the lone survivor of a world-ending event

What would you do if the world was destroyed, and you were the only survivor? What would you do? How would you live? Would you even try to, or let yourself succumb to despair and throw yourself out the airlock? In the case of the music video, the astronaut realizes that what really mattes to him most is achieving his second chance of experiencing love, and he stops at nothing to make it happen.

While destroying the world shouldn’t be done lightly in any medium, doing so has the advantage of forcing a character to confront reality without all the masks that they put up to protect themselves from other people and society at large. Do they go nuts and indulge their every whim? Succumb to despair and meaninglessness? Or do they defy the odds and refuse to give in, searching for others who might have survived, or chronicling everything for whatever sapient life form comes after them? There are countless possible answers, and wanting to see what happens to isolated, vulnerable characters will keep an audience engaged in our stories.

Consider having your character escape/navigate/survive the fallout from a world-ending event

When something big – like a building, a city, or a planet – is destroyed, it creates a lot of debris and wreckage. In some situations, it gives us an opportunity for a unique action scene of characters having to escape said debris. ‘Let’s Go’ has the astronaut fighting to reach the space station before it gets out of reach, but to do so, he has to go through a debris field consisting of wreckage from Earth, making it extremely difficult for him to reach his goal, and with the promise of certain death if he fails.

When writing our own stories, having to navigate the ruins of a wrecked mega-structure can lead to some exciting action scenes that we don’t get to write very often. If the opportunity arises, embrace them and milk them for all they’re worth. One of my favorite examples comes from 2016’s ‘Independence Day: Resurgence,’ in which David Levinson and friends have to dodge falling debris sucked up from all over the Earth that subsequently rains down on London.

Consider having your character/s decide to accept death and pass the time as best they can

In disaster movies, it’s very common for the survivors and main characters to either find a way to stop the disaster, or start rebuilding afterwords, hopeful and upbeat that one day, things can return to normal.

But what if they couldn’t? What if they had no chance at all of rebuilding, or surviving, and death is inevitable?

One type of story we don’t see too much of these days is the disaster story where there’s no way for the characters to survive in the long run. It’s easy to understand why: Audiences want a happy ending, or a hopeful one. A story where everyone is going to die, won’t leave them feeling good after leaving the theater, closing the book, or turning off the game console. But if we choose this path, writers have a unique opportunity to explore what characters might do if they only have a little time left to live. Will they weep? Try to make peace with their god? Resolve any lingering conflicts with their loved ones? Or will they accept it and try to have fun before the end? Both astronauts choose the last option in ‘Let’s Go,’ deciding to play video games together as they drift off into the void.

Choosing the path of inevitable death need not be dark. It can be sad, but it also gives characters one more chance to enjoy themselves, or to choose how they will spend what little time they have left. And if they go out having fun, or healing long-simmering hurts, that can be just as uplifting as a happy ending.

The Takeaway

Our audience will always admire a protagonist or antagonist who has a goal and obsessively pursues it, even at a cost of personal happiness. They’ll be even more interested if that individual is the only survivor of a world-ending event, and applies that determination to surviving or continuing on, no matter how bad things get. But if they are doomed, those characters can become their most interesting selves when they have to decide how to spend what little time they have left.

Favorite Moments: ‘Cut ’em out!’

*My apologies regarding a post that went up earlier today that has since been deleted; it was a draft that had been set to be posted automatically, but I forgot to expand and revise it.*

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

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Previous installments of this column have looked at scenes that I enjoy watching, but today marks the first that, while brilliantly done, is not a fun scene by any stretch of the imagination.

Back in 2001, I was a 15 year old teen in high school who was eagerly looking forward to ‘Pearl Harbor’ and all the explosions, sinking ships, and general war carnage that hot-blooded teenagers go nuts over. Imagine my surprise to find that most of the movie revolves around a romance that drags on for over an hour before the actual attack starts. When the film came to an end, I was annoyed and disappointed, with the film quickly fading from memory as I headed home.

That is, except for one scene.

For all the flak it’s taken about the unwanted romantic subplot, the inaccuracies of the attack itself (including clearly visible modern-day destroyers), there’s one horrifying scene that ‘Pearl Harbor’ does perfectly (skip to 1:32):

 

Even 18 years later, this remains the most unsettling moment in any war film I’ve seen, and is easily the most heartbreaking scene in any movie directed by Michael Bay: Several sailors are trapped inside the upturned USS Oklahoma and screaming for help as the ship continues to flood, but drown only inches from safety as their rescuers fail to cut them out in time, unable to do anything but listen to their muffled screams as they die.

What’s so unsettling about this scene is how it uses an inevitable suffering scenario: That is, people who are going to endure something awful and there’s no way to stop it. Here, it’s the sailors who are going to die in one of the most horrific ways imaginable (drowning), but to make it even crueler, the only thing keeping them from escaping is a single piece of steel. They can see the daylight outside, and the people trying to save them, but it’s too late to get them out. And to twist the knife even further, we see the rescue attempt not from their perspective, but from the people trying to cut through, forcing us, the viewer, to imagine what it must be like underneath that steel. All we see of these doomed sailors are their hands and a screaming mouth.

Pearl Harbor suffers from focusing too much on a romance that nobody really wanted, various inaccuracies, and other issues, but for one scene, it perfectly captures the horrors of war.

Favorite moments: ‘You’re going to die. That’s what’s happening.’

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

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The Movie

‘The Grey’

The Scene

Why it’s Great

It happens all the time: Someone gets injured. They’re bleeding out, they’re in shock, and their comrades, friends, and those they love are frantically telling them that they have to hang on, that help will be there soon, and that they’ll pull through.

How often do you see someone tell the injured person that they’re going to die?

When I first saw ‘The Grey’ back in 2011, this is the scene that stuck with me after I left the theater. Very rarely had I come across a story where a dying person was told, point-blank, that they’re going to die. But while Ottway’s honesty seems as cold as the frozen wastes of Alaska, the resulting scene is – surprisingly – quite touching. While he doesn’t mince words with Lewenden about what’s happening, Ottway does his best to make Lewenden’s last moments as comforting as possible.

Death has a way of revealing who someone really is when they’re faced with the unknown, and all their defenses are gone. There might be no better way to find out what a character is like than when they’re staring death in the face. in ‘The Grey’ we learn everything we need to know about Ottway in one scene: he’s a man who doesn’t hold back on telling the truth, no matter how hard or uncomfortable it is. Yet, he’s not a cruel, heartless person, and does his best to help others, no matter how grim things are, even if it’s only making someone’s death a little less fearful, a little terrifying as they slip away, turning what could have been a sad, heartless scene into one of the most touching moments of the film.

What we can learn from ‘Sharknado 5: Global Swarming’

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Last week, we took a look at… You know what, you know the drill by now.

1. Consider making the backstory behind your monster something your audience won’t expect

For the first four films, the Sharknado series has stuck with the idea that the sharknadoes are an entirely natural phenomenon. ‘Global Swarming’ bucks that trend by revealing that sharknadoes are actually a supernatural phenomenon caused by a shark god that humanity has fought in the past, and defeated. In as serious series, this would be pretty far-fetched, but the dopey nature of the Sharknado series makes this a plausible twist that retroactively paints the series as humanity’s latest fight against a supernatural menace trying to wipe us out, giving the series a bigger feel, in that there’s more going on beyond what we see in the films.

2. Give your character/s a good reason to chase after the monster.

One of the hardest hurtles to overcome in monster movie sequels is giving the hero a valid reason to chase after a monster that any sane person would run away from. ‘Global Swarming’ is one of the few monster sequels I’ve seen that gives the leads a legitimate and logical reason to do so: Finn and April’s son have been sucked by a sharknado that can teleport around the globe, forcing them to give chase in order to save him. Thus, they’re not motivated by greed, revenge, or wanting to destroy the menace once and for all, but to save a loved one, a motive that everyone can relate to and understand.

3. Take advantage of exotic locations, but make sure they advance the story

Where the four previous Sharknado films took place entirely within the United States (and outer space), ‘Global Swarming’ finally takes the toothy menace across the globe, including England, Switzerland, Italy, Australia, Japan, and Egypt. Predictably, this allows the film to poke fun at the various attractions at each location, the most enjoyable of which is Finn leading the charge to save the Queen at Buckingham Palace, a brief sojourn in Africa where we have lions vs sharks, and the statue of Christ the Redeemer literally giving Finn and April a hand as they continue to try and save their son.

However, when your characters go to exotic locations, make sure their adventures advance the story: ‘Global Swarming’s sequence in Switzerland, which features a steampunk zeppelin and lots of skiing and dog mushing, feels like padding. While an action sequence may have plenty of cool-looking action, if it doesn’t advance the story or characters, it will ultimately be padding. Cool-looking padding, but padding nonetheless.

3. Consider giving a long-running sidekick a less-than-honorable motivation (and then let them redeem themselves)

Nova’s role in the Sharknado series is to be the action girl unfettered by a family or loved ones beyond Finn, and ‘Global Swarming’ puts her in command of the Sharknado Sisters, a cavort group dedicated to wiping out sharknadoes. But then it’s revealed that what Nova wants is pure revenge: to kill every shark on earth, even if she has to give up on rescuing Finn’s son, Gil. Considering that sharks killed her grandfather and nearly ate her, it’s understandable that Nova would want to kill an entire species, but such a revelation retroactively makes her a darker character.

However, the movie does give her redemption and the chance to balance out her bloodlust: Nova is the reason Gil gets sucked into the sharknado, and she tries to save him in Tokyo, but fails and dies, but not before reconciling with Finn and April, proving that when it comes to redemption quests, the effort of just trying is just as important as if the character succeeds or not.

5. When all else fails, throw in an athlete using his/her skills to help save the day

Is your story sagging by the middle of the second act? Are you trying and failing to find a way to sustain your audience’s interest? Why not try throwing in a random cameo by an athlete using their skills to help save the day? In a film filled with sharks in tornadoes attacking multiple countries, the pope giving out laser-firing chainsaws, and ancient shark gods, the most random moment may be Tony Hawk appearing out of nowhere in Australia and using his skateboarding skills to help fully transform the Sidney Opera House into an anti-sharknado weapons platform. Does it make any sense? Not really. But it is memorable and amusing to see him use skateboarding to help fight a sharknado, similar to how Gymkata features an Olympic gymnast defeating bad guys with gymnastics and conviniently placed horizontal bars and pommel horses in city plazas and alleyways.

6. When introducing an evil organization/villain, give them some motivations and goals

When in Brazil, Finn and April learn more about the ancient artifact that can be used to control sharknadoes. But it isn’t long before a shady man sneaks in and steals it, prompting an inter-continental chase to Rome where Finn takes on the bad guy and gets the artifact back. However, this man’s appearance feels almost like an afterthought: he appears without any foreshadowing, and is dispatched quickly a few minutes later without having any real effect on the story, aside from getting Finn and April to Rome. I got the impression that he’s part of an evil organization that wants to control sharknadoes, but this story idea is never pursed or given any development.

While it’s acceptable to have antagonists appear suddenly in stories to accost and badger our protagonists, it’s important to give the reader some sense of who they are and what they want. Even if they have the coolest looks, the baddest weapons, and the most awesome equipment, it’s still important to give them a motivation, rather than being a random goon who leaves as quickly as he or she appears.

7. Dramatic moments have a heavier impact in comedy

‘Global Swarming’ starts off like all the previous Sharknado films, focusing on jokes, goofy and outlandish attacks, and the like. But when the film gets into its third act, it takes a sudden turn into the dramatic: Nova fails to save Gil from the sharknado and dies; Fin’s entire family is killed by sharknadoes, and then the film kills not only April, but everyone else on Earth, leaving Finn the world’s sole survivor. And there’s no comedy or jokes to any of these scenes: they’re all played straight, resulting in what may be the most emotionally effective moments in any Scyfi/Asylum film to date.

What makes these moments effective is how unexpected they are; we, the audience, watch comedies to laugh and feel good, which makes the sudden introduction of drama and death catches us off guard. It’s one thing to watch characters die in dramas and thrillers; we expect it. Having a dramatic moment in a comedy and not playing it for laughs will get people’s attention because of how unexpected it is.

8. When people lose their loved ones, make sure they grieve

While ‘Global Swarming’s dramatic moments are effective, I couldn’t help but feel that Finn and April don’t grieve enough when they learn that their entire family is dead, especially when Finn hears his older son die on the phone while talking to him. Such an event should drive them to their knees and crush their spirits, and the only reason they could even go on is fueled purely by wanting to get revenge on the sharks, with all thoughts of saving humanity thrown aside.

When your character’s loved ones die, make sure we see them grieve. The struggle of having to go on even when all they want to do is collapse makes us sorry for them, yet we can admire them for continuing on after going through what is arguably the most traumatic thing a human can ever experience.

9. When you have a downer ending, strongly consider having a ray of hope

‘Global Swarming’ ends with everyone on Earth dead except for Finn. Had the film ended there, it would have the most shocking ending in the series to date. However, there is a faint thread of hope as he meets – thanks to time travel shenanigans – his now grown son and heads back in time to save everyone else.

In fiction, downer endings are pretty much guaranteed to stay with people long after the story is over, for both good or ill. While they are memorable because they go against the expectation of having a happy ending, or, at least, a bittersweet one, there’s also no escaping the fact that they’re depressing, making it hard to come back to the story again and again. However, if the characters, and the reader, have the smallest thread of hope that things will get better, that can transform a terrible situation into one where the audience will remember your story even more fondly than if there is no hope.

The Takeaway:

When doing a sequel in your monster series, consider exploring an unexpected background behind the monsters while taking advantage of travelling to exotic locations in pursuit of the monster for a noble goal, while making sure those travels contribute to the plot; along the way, make sure villains get some motivations and goals when they appear, and have your characters react realistically to losing everyone they love, and if your story has a downer ending, leaving a thread of hope that things will get better will go a long way to satisfying your audience.

Note: Due to missing ‘Sharknado 6: It’s About Time’s broadcasts, and that the film is not yet available on DVD or streaming, my critique of the film will have to wait until it is available. Until then, the series-wide analysis is on hold.

What we can learn from ‘Sharknado: The 4th Awakens’

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Last week, we took a look at the third entry of the Sharknado series. Let’s keep the ball rolling and take a look at the fourth(!) entry.

1. Consider retconning a previous entry to reveal that a hero who sacrificed themselves actually survived

At the climax of ‘Oh Hell No!’ Finn’s dad, Gilbert, sacrificed himself to save the eastern coast of the United States and ended up landing on the surface of the Moon, far from rescue, but knowing that his son and family would survive, and so would millions. It was a fitting end for his character… which makes for a delightful surprise to find out that he was rescued brought back to Earth, letting him engage in more sharknado adventures.

When characters sacrifice themselves to save the day, it’s almost always a heroic moment, and satisfying to know that while they may be gone, they made a positive difference and helped others, whether it’s just one person or many. However, not many stories have them actually survive their heroic sacrifice; while there is the risk of cheapening that sacrifice by saving them, doing so can be a heartwarming moment that stays with your audience long after the story is over.

2. Consider having the world be improved due to your hero’s efforts

One thing ‘The 4th Awakens’ does very well as a post-trilogy film is show that the world has changed considerably since the ending of ‘Oh Hell No!’ Earth has developed anti-sharknado technology, and has enjoyed five sharknado-free years, to the point that the public can poke fun of sharknadoes by building shark-themed casinos in Las Vegas. And best of all, Finn has enjoyed a quiet, peaceful life of raising his family.

When doing a sequel that takes place after the conclusion of an earlier work, it’s a good idea to show that all the work your hero/s did in previous stories wasn’t for nothing. Your audiences will be satisfied and pleased to see that the hero/s earned a happy life, and that their hard work paid off. This is a better approach than just showing that the same problem (or something very similar) is still going on as before without any resolution or change in circumstances, which suggests that all the struggle and suffering that came before was for nothing.

3. Take advantage of the unique sights at a location for action sequences

If TV shows and movie sequels have shown us anything over the years, it’s that taking long-running characters to exotic locations is a fantastic chance for those characters to have adventures, crack jokes, and otherwise take advantage of unique attractions and locations. ‘The 4th Awakens’ does so in spades: Las Vegas features the expected sights of sharks attacking casinos, but also features Chippendale dancers attacking the sharks in hand-to-fin combat and Finn and friends riding the Treasure Island casino pirate ship down main street. Later, we have sharks rolling around in Cawker City’s ball of twine, and then tearing up Salt Lake City’s Comic-Con, complete with Utah Governor Gary Herbert fending off sharks with a racket.

In your own stories, don’t be afraid to take advantage of unique sights and events in different locations. If your characters travel to Seattle, Washington, for example, your readers might expect them to get involved with the Space Needle. Or if they travel to Washington DC, any of the famous government buildings. Do so, and you’ll satisfy them. Go crazy (if it fits the story’s tone), and you’ll do even better.

4. If you’re doing a long-running monster series, try new variations on the title creature

When doing monster movies, it’s a good idea to occasionally shake things up with different variations of your beasts. ‘The 4th Awakens’ takes this to heart by giving us seven variations of the sharknados, ranging from sand, to fire, and even a radioactive sharknado (leading to a very amusing – if improbable – shot of two helpless aides being turned into skeletons upon being hit by radioactive sharks).

In your own stories, shaking things up with the beasts with different versions every now and then is a good way to keep your audience’s interest. However, be careful that your variations make sense in the theme and style of your story: with ‘Sharknado’s silly tone, radioactive sharknadoes make sense, but having radioactive dinosaurs in ‘Jurassic Park’ would not.

5. Consider having old and new heroes join forces to save the day

Like many heroes who have saved the day, Finn starts out as someone who’s not interested in fighting sharknadoes anymore, a perfectly logical reaction to having fought them three times. ‘The 4th Awakens’ smartly brings him back into the fight gradually; he has to fight to save his son Matt and his wife out of necessity, but still doesn’t want to go sharknado hunting anymore. In his place, we have newcomer Aston, a wealthy CEO who’s responsible for the technology that’s been combating the sharknadoes, and the two eventually team up to save the day.

When doing a post-series sequel of your own, it’s logical to bring back your most famous hero to take up arms once again. You can do so immediately (and your audience will admire them for being willing to jump right back into the fray), but consider doing so gradually. I liked how Aston was the active protagonist, and gradually convinced Finn to help. And while it might be a cliché, having Aston admire Finn and take inspiration from him was a nice touch.

6. Consider going completely bonkers with your action sequences

If there’s one thing ‘The 4th Awakens’ can’t be criticized for, it’s for playing things safe with its action sequences. Perhaps sensing that there’s no reason to hold back after 4 films, the movie goes nuts and throws everything it can at the screen. We’ve already got the aforementioned variations on the sharknado, and a fight on a pirate ship riding a tidal wave through Las Vegas, but we also have a mech suit with chainsaw arms slicing sharks to ribbons at Niagara Falls, bigger sharks swallowing smaller sharks before all are swallowed by an out-of-nowhere blue whale, and – in what is easily the most bonkers sequence in the series to date – Finn taking out a shark with a sword made from chainsaws inside his house while it flies around inside a tornado.

While it won’t always be appropriate, given the tone of your story, consider having an action sequence so bonkers, so out-there, and so outlandish that there’s no way it could happen in real life. It may not be realistic, but it’s memorable and fun, why not?

6. Remember to have characters mourn their deceased loved ones

One puzzling thing about ‘The 4th Awakens’ is that the main characters don’t mourn their loved ones when they’re killed (or seemingly killed). When Matt’s wife, Gabrielle, is killed, Matt doesn’t even seem to notice that she’s dead. At Niagra falls, when Gilbert, Claudia, and Matt are swallowed up by the sharks, the others are shocked momentarily, but then just keep going on with their tasks. While it can be reasonably argued that they need to focus on stopping the sharkando, it feels wrong for them to get over seeing a loved one be eaten alive so quickly.

In your own stories, it’s important to show characters mourning when their loved ones are killed. While fictional characters can get over deceased loved ones faster than in real life, they will come across as real people if they break down, cry, and grieve. If there’s no time for that, then they can do so after the crisis is passed, but losing a loved one is always a big moment in someone’s life, and shouldn’t be treated lightly… unless that person hated their guts, in which case it’s acceptable for them to move on quickly and easily.

8. Consider having a little kid save the day

One of the most amusing sequences of ‘The 4th Awakens’ occurs at the end, when little Gil slices into the Russian nesting doll stack of sharks who have eaten each other to save his family, complete with a miniature chainsaw. While it’s a staple of stories written for youngsters to have kids save the adults and the day at the end, there’s something so charming about seeing pre-adolescents doing so in movies meant for adults, especially when they take to the task with boundless enthusiasm.

The Takeaway

When doing a post-trilogy story, consider having the world be better off than it was before, only to be attacked by several variations of the returning monster in outlandish action sequences in unique locations while both experienced and new heroes join forces to save the day, before they are saved by a little kid, all while mourning those who’ve they’ve lost.

Favorite Moments: Aim the drill at the ground and turn it on!

We all have our favorite moments in movies, books, and games, moments that stay with us long after the story is over. This column is my attempt to examine my favorite moments and see why they stick with me.

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The Movie

‘Armageddon’

The Scene

Ben Affleck points out some errors in logic.

Why it’s great

With most science fiction and fantasy films, it’s expected that we’ll have to suspend logic to some degree so the plot can move along. Oil drillers going into outer space to drill holes in a meteor so bombs can blow it up from the inside? Sure, I can go with that. But as Mr. Affleck observes, that may not have been the best solution.

The brilliance of Mr. Affleck’s observation is that sometimes going for the simplest solution in a story is often the best. I don’t know how complicated drilling is, but it probably would be easier to train astronauts to operate drilling equipment instead of training drillers to become astronauts. Of course, that would remove much of the movie’s charm of blue-collar underdogs heading out to save the Earth, and make for a less-exciting second half where we see trained astronauts calmly and professionally drilling to the designated depth, depositing the bomb, and blowing up the meteor with plenty of time to spare.

As stated before, suspending logic happens in every story to some degree, and is expected by audiences. After all, if a mundane solution were applied to every problem in fiction, our stories would be really short and much less exciting, AKA, the Doylist solution; if the Fellowship of the Ring did fly the One Ring to Mt. Doom with the help of the eagles, for example, ‘The Lord of the Rings’ would be a much shorter story. But every now and then, why not try doing the simplest solution in your own fiction? You just might throw the audience off guard and thus get their attention and make them wonder what else you’ll do.

What we can learn from ‘Sharknado: The Second One’

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Last week, we took a look at Sci-Fi’s surprise hit, ‘Sharknado,’ This week, let’s take a look at… well, The Second One.

Consider having your hero rush in to help, even when he has no idea what he’s doing.

In the film’s opening scene, Fin and April are en route to New York City, only for their plane to be attacked by sharks. Even though Fin’s a surfer with no flying experience, he still tries to fly the plane to safety instead of waiting for someone else to do so.

Not only does rushing in to help make our characters active protagonists, but it also gives them an underdog quality, in that they have to accomplish a task they’re not qualified to do.

Have your characters save someone they don’t like

While it’s easy for our characters to rush in and save people they care about, or even just bystanders they don’t know, it takes more courage to rush into danger to save someone they don’t like, as Fin has to do with Martin, an old childhood friend of his. While we may enjoy seeing mean people get their comeuppance (though not Martin, in this case), having our heroes take the high ground and save their lives says a lot about their character.

For bonus points, consider having the two characters take advantage of their situation to heal any emotional rifts they have and become friends again, as Fin and Martin do. Or, if not that, at least no longer hate each other.

Consider having an old-timer finally get to fulfill a failed dream decades later

His role isn’t necessary to the story, but it’s satisfying to see Harland McGuinnes – an old, retired baseball player – finally get the home run he never got to get in his last game by whacking a shark into the billboard at Citi Field. Who among us doesn’t have a dream that never came true, whether from circumstances beyond our control, or because of our own failings? That’s why it’s so satisfying to see characters get a second chance to make that dream come true and pulling it off, especially if they’re older and past their physical prime.

Consider doing crazy chase scenes

Car chases, foot chases, motorcycle chases, boat chases, helicopter chases; all of them have been done thousands of times in films. But how about a chase where the monsters are pursing an out-of-the-ordinary vehicle? One of ‘The Second One’s most creative scenes has Fin and friends riding a subway car that’s not only trying to outrun a tidal wave, but the sharks it’s carrying as well.

When it comes to chase scenes, the sky’s the limit, so why not try including two different antagonists at once in your own?

Consider trapping your characters be trapped between two bad choices

As the old saying goes, sometimes we have to choose the lesser of two evils in life. A similar situation has characters being forced to choose between two very unpleasant outcomes. In ‘The Second One,’ Fin and friends are trapped in a stairwell trying to get a door open. If they fail, they have to make a choice:

1. Do they choose to be killed by sharks who are rising towards them via flooding?

2. Do they choose to be killed by sharks descending towards them who are on fire?

Thankfully, they get the door open, but such no-win scenarios not only helps reveal more about a character’s true fortitude (are they brave? Panicky? Do they sacrifice others to save themselves?), but makes the viewer wonder what they’d do in the same situation, which keeps them engaged and wanting to find out what happens next.

Have the commoners rise up to save the day

If there’s one trope all but guaranteed to warm the heart, it’s seeing everyday people take up arms to fight the monster/menace of your story, and win. When this trope comes in to play, the authorities have failed to save the day, and the only people everyone else can rely on is themselves, which adds further drama to the scene. Here, the citizens of New York grab all manner of weapons and take on the sharks. Considering that these weapons include pitchforks, guns, chainsaws, and flamethrowers fashioned from super soakers, it’s as goofy as you’d expect, but still great fun.

Consider having a mid-air fight

(Play the clip to jump right to Fin’s mid-air fight)

They’re rare. They’re impractical, They’re all-but impossible to pull off in real life, but there’s no denying that a free-fall fight between two characters is awesome. In the climax of ‘The Second One,’ Fin flies through the sharknado towards the Empire State Building with his chainsaw, carving up sharks left and right, and eventually riding one onto the tower’s antenna.

The advantages of such a fight are numerous: Both participants are in a hazardous environment, the fight has to be decided quickly, which increases the ferocity on both participants, and unless they can figure out a way to land safely or get away, both fighters are going to die a very unpleasant death on impact. When you need a hazardous environment to stage a fight, it’s hard to top one in the sky.

Reconsider killing off likeable side characters

It’s distressingly common for disaster films to kill off side characters who are often more interesting than the protagonists, and ‘The Second One’ follows that trend, killing off Fin’s old love interest, Skye, and a helpful cab driver, Ben, played by the great Judd Hirsch. I liked both of these characters, and how they were competent, resourceful, and did their part to help Fin and the others survive; I especially liked how Skye, while still in love with Fin, doesn’t try to stop him from healing his relationship with April, which makes her death feel cruel and unnecessary (and Fin doesn’t even mention her afterwords!).

In our own stories, think carefully before killing off these side characters. While audiences expect a certain amount of casualties in a disaster film, having these side characters survive, even if longer than expected, can be a welcome surprise because we’re conditioned to believe they’ll die. If your viewer likes these characters, they’ll be grateful to you for saving them, and walk away happier than they would have otherwise been.

The Takeaway

We like seeing our protagonists rushing in to help, even when they don’t know what they’re doing, especially if it’s to save someone they don’t like and would otherwise leave to die, while watching older people fulfill a dream that never came true before escaping in a crazy chase sequence and then end up being trapped between two terrible ways to die, before rallying the common folk to save the day before charging into battle that includes a mid-air fight, and hopefully doesn’t involve the death of a likeable side character.