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Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. Tomorrow is April Fools’ Day, so I thought it’d be appropriate to explore some of the best comedic duos in all of entertainment. Comedy is an incredibly diverse and difficult storytelling art, particularly when working as a duo. Nonetheless, several pairings throughout history have truly risen to the heights of the art form. I’ve narrowed it down to ten iconic duos across over a century, from modern YouTube series all the way back to Vaudeville and silent films. Again, this is only my opinion, so no flaming! Anyway, with that out of the way, let’s have a few laughs.
Number Ten – Cheech Marin and Tommy Chong
Rising to popularity in the 1970s and 1980s, Cheech and Chong pioneered the comedy concept of “stoner buddies.” Among the other famous duos that drew influence from them are Jay and Silent Bob, Harold and Kumar, and Ashton Kutcher and Seann William Scott. Fittingly for their style, the pair initially met in Canada while dodging the draft for the Vietnam War. Though they’ve more recently found success in movies and TV shows, they are best remembered for their numerous stand-up routines from early in their careers. While their comedy routines about hippies, drugs, and free love aren’t my thing, there’s no denying the entire subgenre they helped create back in the day.
Number Nine – Matthew Broderick and Nathan Lane
My generation most fondly remembers their introduction to these two actors in Disney’s The Lion King, but they weren’t yet the iconic duo they’d eventually become. No, these two really came into their own through the numerous films and Broadway shows they’ve starred in together. Most notable of all is their transcendent performance in Mel Brooks’ The Producers, where their classic dynamic of The Schemer and The Coward shines as bright as the sun. Not only is The Producers one of the most hilariously politically incorrect stories ever told, but it hits even harder with the delivery and amazing chemistry from these two masters of comedy.
Number Eight – Statler and Waldorf
Ah, the Muppets. Some people love ‘em. Some people can’t stand ‘em. But these two cranky oldtimers are probably the most consistent part of anything involving the Muppets. Whether a stage show, a major motion picture, or a parody of a novel, the audience can be sure that Statler and Waldorf will show up at some point to complain and heckle the Muppets about the zany antics they get up to. Unlike some comedy duos, these two are essentially the same person broken into two characters, but that just makes their biting criticism all the more entertaining. Their antagonistic relationship with bumbling comedian Fozzie Bear is particularly hilarious. Statler and Waldorf are insult comedy at its absolute finest.
Number Seven – Chris Farley and David Spade
Though these two only made two movies together, Tommy Boy and Black Sheep, their incredible chemistry and years together on Saturday Night Live are more than enough to qualify them for this list. They’re simply brilliant together, as they form a new twist on the Straight Guy and Funny Guy trope. From Farley’s over-the-top slapstick style to Spade’s sarcastic witticisms, you knew anything these two did together was going to be gold. Sadly, the two had some major disagreements behind the scenes, resulting in their separation as a team after Black Sheep, but the moments we do get from this pair are a comedic treasure.
Number Six – Tina Fey and Amy Poehler
Another classic pair of SNL alums, these ladies are the undisputed queens of comedy since the year 2000. Their chemistry made them an instant hit, particularly on the “Weekend Update” segment of the show. Still, probably their most iconic moment came when Fey and Poehler parodied politicians Sarah Palin and Hillary Clinton during the 2008 presidential election. Even after leaving SNL and finding individual success as sitcom stars, the duo found time to reunite for a string of comedy films. Even today, they continue to tour together, doing stand-up comedy nationwide. They’ve got stiff competition from the likes of Leslie Jones, Maya Rudolph, and Jane Curtin, but I think these two are absolutely the funniest ladies SNL has ever produced.
Number Five – Jack Lemmon and Walter Matthau
Though best friends in real life, Lemmon and Matthau had massive success in films where they were the worst of enemies. They were likely one of the earliest examples of the modern frenemies trend. Whether as roommates in The Odd Couple, faking an injury lawsuit in The Fortune Cookie, or competing for the same woman in Grumpy Old Men, these two are at their best when trying to humiliate each other. Sadly, Matthau died before he could work with Lemmon on what could have been their crowning achievement, My Fellow Americans. James Garner was an admirable replacement for Matthau, but it just wasn’t the same. Some duos are so iconic that moving on becomes impossible.
Number Four – Tim Conway and Harvey Korman
It may have been called The Carol Burnett Show, but Conway’s absurdism and Korman’s deadpan comedy always ended up stealing the show. Their skits are classic. Korman would frequently try and portray himself as someone intelligent and cultured, only to have his world rocked by one of Conway’s many insane characters, often the extremely slow Oldest Man. Their best moments together are when Conway does such an incredible job that Korman can no longer keep a straight face. Look no further than their classic sketch, “The Dentist,” for a prime example of their interactions.
Number Three – Keegan Michael-Key and Jordan Peele
These veterans of Mad TV teamed up in the 2010s to take the modern world of comedy by storm. Focusing heavily on race relations and social humor, Key and Peele are known to poke fun at every demographic group imaginable. In particular, they love highlighting the hilarity of African American cultural stereotypes. Among their many famous sketches is a recurring bit where Peele impersonates President Obama while Key serves as his anger translator. Key also has his iconic character, Mr. Garvey, a substitute teacher who cannot pronounce his students’ names properly for the life of him. (A. A. Ron!) Still, I think my personal favorite is their sketch, “If Hogwarts Were an Inner-City School.” While this duo is seen as a paragon of African American comedy, their widespread popularity has appealed to audiences of all backgrounds.
Number Two – Stan Laurel and Oliver Hardy
You knew these two would be somewhere on this list. Laurel and Hardy were the original comedy duo and paved the way for everyone else on this list. Though they had great success as individual actors in the silent film era, their incredible chemistry made them an unbeatable team in silent shorts, talkie shorts, and even feature-length films. Their style set the precedents for so many comedic tropes, such as cartoonish violence and slapstick, The Schemer and The Bumbler, and milking a recurring joke. In the end, all their comedic mishaps would inevitably lead them back into the same hardship they began the story. Their success would later inspire the Three Stooges and even the Looney Tunes cartoon shorts. Quite a legacy, indeed.
Before we get to the top pick, let’s do a few…
Honorable Mentions
Jackie Gleason and Art Carney
Best known for their portrayals of Ralph and Ed on The Honeymooners, this iconic duo worked together for years on Jackie Gleason’s own show and on stand-up tours in the years after their initial TV success. They were so popular that they were the eventual inspiration behind another iconic comedy duo – Fred Flintstone and Barney Rubble.
Kenan Thompson and Kel Mitchell
This duo is near and dear to my heart, as my childhood was heavily shaped by their appearances on Nickelodeon. Whether doing get-rich-quick schemes on Kenan & Kel or cooking up Good Burgers on All That, these two were the most memorable comedy duo for many 90s kids.
Mike Myers and Dana Carvey
Another classic SNL pairing, these two were particularly popular in their “Wayne’s World” sketch. This, naturally, spawned a popular feature-length film, also titled Wayne’s World. Their sing-along with Queen’s “Bohemian Rhapsody” remains one of the most iconic musical moments in any film to this day.
Pinky and The Brain
Gee, Brain, whadaya wanna do tonight? The same thing we do every night, Pinky. Try to take over the world! These animated lab rats are easily the most remembered characters from Steven Spielberg’s popular show, Animaniacs. Though poor Brain would always see his plans for global domination ruined by Pinky’s goofiness, we always wanted him to try again the next night.
Gene Wilder and Richard Pryor
Probably the most famed and successful mixed-race comedy duo of all, Wilder and Pryor made a quartet of successful comedies together in the 70s and 80s. Their disagreements sadly pushed them apart in their personal lives, but they came together at the right time for some truly groundbreaking comedy.
And with that, it’s time for…
Number One – Bud Abbott and Lou Costello
Who’s on first? The roundabout journey to try and answer that question gave us the seminal comedic example of the Straight Man and Funny Man trope. During Laurel and Hardy’s reign over the comedy world in the 1930s, comedian Bud Abbott had the good fortune to substitute for Lou Costello’s sick performing partner one night. Their chemistry was immediate and they decided to officially make their act permanent. The pair worked their way up through vaudeville and eventually came to national acclaim from their numerous radio appearances. These guest slots soon allowed them their own radio program, and their careers were off. They then broke into the film industry, with their second film, Buck Privates, being a smash hit, thanks in part to them costarring with the Andrews Sisters. After that, their TV and film credits are almost too numerous to count, making them the undisputed kings of comedy duos. Many have come after and tried to emulate them, but nobody has ever risen to the heights of Abbott and Costello. Why? I don’t know. Third base!
And that’s going to do it for this ranking. Comedy is a tough thing to write, but I hope this look at some of the masters of the art will help in your own efforts. Of course, I’d love to know what you think. Did I get it right? What duos did I miss? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!
Greetings, intrepid readers! M. H. Barton here with another blog post on the art and craft of storytelling. It’s Saint Patrick’s Day today, and in honor of the luck of the Irish, we’ll be discussing just that – luck. Specifically, the luckiest of all moments in storytelling where a doomed character is saved seemingly by the will of God - often referred to as a Deus Ex Machina moment. It’s a very powerful writing tool, but absolutely must be done well. If executed properly, it makes a powerful scene nothing short of iconic. If used poorly, it can ruin an entire story, regardless of anything good that comes before or after. To better learn what to do and what not to do, I’ll be ranking, in my opinion, the five worst and five best Deus Ex Machina moments in films. While this is my opinion, I think most of these moments are pretty universally agreed to be good or bad, respectively. Regardless, I think this is an important topic for all writers to understand. With that said, let’s get started!
Number Five Worst – The Wizard of Oz (1939)
Ugh, much as this film is an eternal classic, the final ending was something of a sour note for me. Dorothy is asked what she learned on her journey, answering that there’s no place like home. This alone is a great quote that should have been used to send her home, but the subsequent reveal that the whole movie was a dream? Horrible. Not that it ruined the film as a whole, but it did introduce a trope that has never gone over well. Now, don’t get me wrong. Dream sequences can be a powerful storytelling medium. They can reveal critical information about a character’s personality, thoughts, goals, and fears. But retconning an entire story as a dream, particularly one with a fantasy setting, is a cardinal sin. It’s the sort of lazy cop-out that instantly turns off almost any audience. I honestly can’t think of an instance where this trope was used effectively.
Final takeaway: Better to leave the audience truly questioning if an entire story was a dream than to reveal it really was just a dream.
Number Five Best – Raiders of the Lost Ark (1981)
Man, what a great climax. Indiana Jones and Marion have been captured by the Nazis and lost the Ark of the Covenant in the process. But just as the Nazis prepare to open the Ark, Indy has a moment of realization and warns Marion not to look at the ark, to keep her eyes closed no matter what happens. This ends up being the single factor that spares Indy and Marion from the Nazis’ face-melting fate. What makes this moment so great is how it poetically transforms Indy as a character. Through much of the movie, Indy has professed to be a realist who doesn’t believe in magic, the supernatural, or even religion itself. But early on, Marcus Brody warns Indy about the Ark being different from any other artifact he’s ever gone after. Through his adventure, Indy slowly comes to realize the truth behind Brody’s words. Indy doesn’t have to fully understand the Ark to respect and fear its power, and that gained respect makes his character arc in this film something really special.
Final takeaway: Tying your Deus Ex Machina to a character’s moment of growth can be very effective.
Number Four Worst – The Lord of the Rings: The Return of the King (2003)
The Great Eagles are a hotly-debated topic among fans of these films. While they are established early on in Fellowship of the Ring, there are still many unanswered questions about them. If they can defeat the Nazgûl, how strong are they? Why did Gandalf only send for them during the final battle against Sauron’s armies? Why not have them assist when the garrison at Minas Tirith came under attack or in the ensuing Battle of the Plennor Fields? If they could save Frodo and Sam from the erupting Mount Doom, why did they not fly on the eagles to get to Mordor? The eagles don’t necessarily impact the outcome of the story itself, which is a positive, but the sheer amount of information we don’t know about them causes us to question why the characters took the path they did.
Final takeaway: Established characters aren’t enough in a Deus Ex Machina. Their actions taken and not taken still have to make sense.
Number Four Best – The Avengers (2012)
This ensemble cast managed to portray a group of surprisingly deep and nuanced characters – Control-freak Tony, good-soldier Steve, high-and-mighty Thor, untrustworthy Natasha, and mind-controlled Clint. Still, the one character the audience questions for the longest time in the story is Bruce Banner. We meet him early, we know he’s the Hulk, but we don’t know how he’s gained control over the Hulk. Natasha asks him this at their first meeting, Tony re-asks later on, but we never get a real answer. At least, not until the Avengers assemble for the Battle of New York. Confronted by an intergalactic army, things look hopeless until Bruce reveals his secret: He’s always angry. No longer suppressing his emotions and pretending they don’t exist, the Hulk now takes over only when Bruce willingly surrenders to his anger. It’s a fantastic moment that evens the playing field for the Avengers and sets the stage for one of the best climactic battles in any superhero film.
Final takeaway: Make the audience constantly ask a question before using the Deus Ex Machina moment to answer it.
Number Three Worst – The Matrix Revolutions (2003)
At first glance, the climax of this story had the chance to be rather effective in a tongue-in-cheek sort of way. When Neo makes a deal with the machines for Zion’s freedom, the leader of the machines is even named Deus Ex Machina. Neo then proceeds with his final battle with Smith, ending with Neo martyring himself and allowing Smith to absorb him. This gives the machines the opening they need to delete every Smith and reboot the Matrix, saving Zion in the process. While well-conceived, the execution of this resolution proved to be too much for most viewers. It was a heady idea that simply got too convoluted and was easily lost amidst the visual spectacle of Neo’s final battle with Smith. A disappointing end to what could have been a truly epic trilogy.
Final takeaway: Be careful not to try and do too much with a Deus Ex Machina moment.
Number Three Best – Jurassic Park (1993)
Steven Spielberg’s classic thriller is a chaotic mashup of intense highs and quiet lows throughout. The action reaches a fever pitch when the deadly Velociraptors corner the surviving humans in the Jurassic Park Visitor Center. Just when all hope seems lost, the humans are rescued by the timely arrival of a most unlikely savior: the same Tyrannosaurus Rex who nearly killed them earlier in the film. Some may think this is just lazy writing, as there was no foreshadowing of this happening, but it fits perfectly with the film’s overarching theme of chaos. Dr. Malcolm talks endlessly about Chaos Theory, and the T-Rex charging in and killing the Raptors at the last moment highlights just how chaotic and dangerous John Hammond has now made the world. It may not be an earned or foreshadowed Deus Ex Machina, but it couldn’t have happened any other way in this universe.
Final takeaway: A Deus Ex Machina that is in line with a story’s overall theme stands a great chance of succeeding.
Number Two Worst – Superman (1978)
Christopher Reeve may be the definitive Superman, but his films had their fair share of plot holes. Chief among them is this Deus Ex Machina moment at the climax of his first outing. After failing to stop both of Lex Luthor’s missiles, Supes tragically discovers Lois Lane dead in the aftermath of the ensuing earthquake. Sick with grief, he begins to encircle the Earth and force it to spin in reverse, turning back time itself. This allows him to save everyone, including Lois, before delivering Lex Luthor to prison. While the previous bad examples of Deus Ex Machina moments had some redeeming qualities, I have no excuse whatsoever for this one. It’s just lazy writing that leaves a gaping plot hole in its wake. If Superman can fly so fast that he can make the Earth spin in reverse, he could’ve flown fast enough to stop both missiles. I have no justification.
Final takeaway: Be careful not to contradict yourself in a Deus Ex Machina moment.
Number Two Best – Toy Story 3 (2010)
Pixar Animation Studios is known for emotional moments, but none is more devastating than the sight of Woody, Buzz Lightyear, and all their friends about to be destroyed in a garbage incinerator. We’ve already seen what we think is the end of the Little Green Men, and the situation the toys find themselves in here is downright hopeless. When asked what they should do, Buzz can only lower his head and hold the hands of his friends. But just as they approach the flames, the Little Green Men swoop in with a crane claw and save everyone. This isn’t just a moment of relief for the audience, but a beautiful moment of poetry, as the Little Green Men using the claw harkens back to their original appearance in the first Toy Story, as well as their catchphrase. What else can I say? This scene will make even the toughest viewer cry.
Final takeaway: A great Deus Ex Machina moment can bring a story and even an entire series full circle.
Number One Worst – Star Wars: The Rise of Skywalker (2019)
Good lord, this entire movie is one hot mess. It started off poorly, bringing us the inexplicable return of Palpatine, but the final battle pitting Palpatine against Rey and Ben is just as bad. First, Rey and Palpatine channeling the power of every Jedi and every Sith, respectively, makes no sense and has no explanation. Second, Palpatine being killed with his own Force Lightning makes even less sense. He’d been nearly killed in the past by Mace Windu with this exact technique, and a master Sith like Palpatine wouldn’t chance that happening twice. Finally, Ben resurrecting Rey with a fatal amount of Force Healing just puts the cherry on top, as we had zero indication Ben knew about this skill. I could go on and on, but I won’t. Suffice it to say, this was a horrible ending that absolutely ruined the entire sequel trilogy for me and countless others.
Final takeaway: Multiple Deus Ex Machina moments are never good. Lazy writing early breeds lazier writing later. Trust me, I know.
Number One Best – Star Wars: Return of the Jedi (1983)
Now, this is how you do a Deus Ex Machina! If the first six Star Wars films were an opera, Anakin Skywalker would be the tragic hero of the saga, and it all culminates in the fantastic climax of this film. From the moment Luke Skywalker surrenders to the Empire, he’s playing for time. Every move he makes is in an effort to reach his father’s mind and reawaken the latent goodness in Anakin’s heart. Yet Darth Vader professes that it is too late for him. This is the key line. Not only does Vader believe Anakin is gone for good, but even if he wasn’t, it wouldn’t matter. Both the Vader and Anakin personalities know that Palpatine is far stronger, meaning opposing him would be futile. Still, Luke persists in his efforts, going so far as to remain defensive in his lightsaber duel with his father and later throwing down his weapon entirely. As Palpatine proceeds to torture and kill Luke with Force Lightning, we can feel the hopelessness. For all his skill, Luke still can’t hope to stand against Emperor Palpatine. But as Luke begs for his father to help him, something finally clicks and Anakin reemerges from the shadows of Darth Vader, killing Palpatine at the cost of his own life. While for us, the movie couldn’t end any other way, remember that audiences back in 1983 didn’t know for sure if Luke would live or die. It was entirely plausible for Luke to die a martyr while Vader and Palpatine are both killed in the ensuing Death Star explosion, ending the Jedi and the Sith for good. George Lucas played on the audience’s doubts and fears perfectly with this masterful climax, and it remains the greatest use of Deus Ex Machina in all of cinema, in my opinion.
Final takeaway: A great Deus Ex Machina moment can have foreshadowing if cleverly hidden within the story.
And that’s going to do it for this blog entry. Hopefully, this ranking helped you in your efforts to handle this most delicate tool in the writing toolbox. Of course, I’d love to know what you thought. Were there any good or bad moments I missed? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!
Greetings, intrepid readers! M. H. Barton here with another blog post on the art and craft of storytelling. Today, I wanted to look at one of the most famous scenarios given to us by the Star Trek franchise, the Kobayashi Maru exam. The test has been seen and referenced throughout the history of the franchise by many different characters and is often known even by people who aren’t Star Trek fans. It’s a test given to all cadets desiring to command a ship which puts the cadet into a no-win scenario. No cadet has ever succeeded in completing the scenario itself, save for one James Tiberius Kirk. He famously “cheated” by reprogramming the simulation to make it possible to win. But in doing so, did Kirk really pass? That’s the question I want to explore in today’s post. This is simply my opinion as I wax philosophical about this topic, but it should be helpful in understanding how to write a character’s leadership qualities. Anyway, time to explore a part of Star Trek where many have gone before.
To start off, I’ll give a rundown of what the Kobayashi Maru entails. The cadet is given command of a simulated Federation starship with a command crew to assist them. These crew members are usually real officers meant to proctor the exam. The cadet soon receives a distress signal from the ship Kobayashi Maru. The ship states that they have hit a gravitic mine and are completely disabled. Worse, they’ve been stranded in the Neutral Zone between the Federation and the Klingon Empire. Entering the Neutral Zone is a treaty violation that could start a war. However, if the cadet refuses to enter the Neutral Zone, they will face a mutiny from their crew, forcing them to enter anyway. Upon entering the Neutral Zone, the cadet loses contact with the Kobayashi Maru and is immediately attacked by an overwhelming number of enemy ships. No matter what they try – fight, flee, or negotiate – the scenario always ends with the destruction of their ship and the deaths of all crew members.
Different Star Trek characters have taken the Kobayashi Maru exam over the years, and each has approached it differently, revealing key information about their personalities. Saavik’s exam is our first introduction to the scenario, in which she attempts the rescue, tries and fails to contact the Klingons, and finds the ship too damaged to do anything when she then tries to fight. Even her final order to abandon ship was useless, per Admiral Kirk, as the Klingons would have shot down the escape pods without hesitation. Saavik’s experience with the exam is probably the most famous and quintessential version, being the original iteration. But she isn’t the only character whose experiences we’ve learned about.
We learn more about the crew of the original Enterprise and their experiences with the scenario in Julia Ecklar’s pocket novel, The Kobayashi Maru. When Chekov faces the exam, he attempts the rescue, but immediately orders the crew to escape when the Klingons appear. He himself remains behind to self-destruct the ship, an action that still kills the escaping crew. On the other hand, Sulu faces the exam with ironclad resolve to not violate the Neutral Zone, resulting in a mutiny from his crew. Scotty takes a novel approach, using his engineering skills to abuse mechanics specific to the simulation and last longer than any cadet ever had. Nonetheless, he knew such tactics would have been useless in real life and is deemed unfit for command. Scotty had planned this as a way to be reassigned to an engineering track despite his family’s wishes for him to be a starship captain. Spock had never faced the Kobayashi Maru scenario but retorted that his actions at the end of Wrath of Khan qualified as his solution to the no-win situation.
But what of the original protagonist, Captain Kirk? After trying and failing the scenario twice, Kirk’s need for victory motivates him to try a third time. This time, however, he hacks the simulation and reprograms it to make the Klingons think he’s a famous and skillful starship captain, resulting in their surrender and pledge to help rescue the Kobayashi Maru. In the original setting, Kirk was commended for his original thinking on the scenario, but in the alternate reality of 2009’s Star Trek film, he was brought before a disciplinary hearing for his actions. This difference presents some confusion as to Starfleet’s views on Kirk’s solution. Did Kirk cheat or not? It’s hard to say, but I honestly think it’s irrelevant. Instead, I wonder if Kirk should be considered to have passed the exam at all.
As someone who has used video game cheat codes in the past, it is my opinion that Kirk failed the Kobayashi Maru scenario. Sure, it was fun to be able to kill boss enemies in one hit, but after seeing the ending, it’s not like I felt any sense of accomplishment. I hadn’t beaten the game. I had only forced my way past tough situations in order to see the ending. Granted, none of these were truly unwinnable scenarios, but I think the analogy still applies. Real gamers should feel that witnessing the ending of a game is a reward for their time and hard work. That’s why, as I grew older, I only ever used cheat codes to help with tedious, time-consuming tasks, rather than breaking the natural game progression. On the rare occasions that I did use more game-breaking cheat codes, I only did so on games I had already beaten to see how things were different. It was an experiment, nothing more.
In the same way, Kirk misses the point of the Kobayashi Maru scenario. If one looks at it like a video game, then Kirk had already seen the true ending of the game twice before deciding he couldn’t accept that ending. He hacked the game and changed the ending to what he wanted. Good for him. But the ending wasn’t the point. The unwinnable scenario isn’t testing you by results, as the results are always the same. Instead, it’s testing your decisions leading up to the results and your reactions afterward. Kirk was so obsessed with winning that he forgot to actually play the game. Should he have felt mad at an unfair exam? Sure. Absolutely. But that’s part of the job he’s signing up for. He can boast that he doesn’t believe in unwinnable scenarios all he wants, but that doesn’t stop such scenarios from rearing their ugly heads in life, especially as a Starfleet captain.
Talking about the Kobayashi Maru scenario reminds me of another no-win scenario from the film National Treasure: Book of Secrets. I’m sure you all know of the Indiana Jones-esque adventures from these movies, but the worst scenario of all comes at the final climax of Book of Secrets. As the characters make their escape, Mitch Wilkinson realizes the room just before exiting the ancient temple of Cibola is a death trap. The exit can only be opened by a crank far enough away that the operator of the crank can’t get to the door before it closes. Worse, the room fills with water while the door is closed, while the room beyond fills with water while the door is open. While protagonist Ben Gates continues to try and find a way to save everyone, Wilkinson states the simple fact: It’s not a puzzle, it’s a choice. An unwinnable situation.
That’s the essence of the Kobayashi Maru that Kirk missed. It’s a choice, not a puzzle. Choose the least bad of several awful choices and be able to accept the consequences, horrific as they may be. It is often argued that Kirk’s refusal to accept the unwinnable scenario is one of the traits that make him a strong leader, but I disagree. I think it’s what holds him back. Kirk is a great captain, make no mistake, but I would not rank him as an elite leader in the Star Trek franchise. He’s brash and cavalier, sometimes creating problems he then has to find ways out of. His approach to the Kobayashi Maru has certainly defined what it is that makes him tick, but it also prevents him from rising to the level of Picard or Spock, for example. Maybe having to witness Spock’s death after their battle with Khan served as Kirk’s true Kobayashi Maru, forcing him into a horrible scenario he has no control over. If so, perhaps too much emphasis is placed on the Kobayashi Maru, to begin with. Regardless, even as Kirk grew later in his career, his efforts to win the Kobayashi Maru made it his biggest failure in my mind.
So, what can we take away from these ramblings for our own writings? I think one of the best takeaways is that training simulations are wonderful ways to peel back the layers of a character, but they can only go so far. To truly reveal who our characters are and push them to grow into who we want them to be, we have to put them in real scenarios with real stakes. Those real scenarios were what it took for Kirk to finally grow. Anyone can say they know what they’d do in a given scenario, but things get real in a big-time hurry when lives are on the line in the heat of battle. Those fires are how we can hone our characters' personality traits into more iconic and defining characteristics. Use training scenes well, but always follow them up with real-world experience. Your story will be all the better for it.
And that’s going to do it for this short blog entry. I hope my nerdy musings were helpful and interesting. Maybe they’ll help you along your own writing journey. Of course, I’d love to hear what you think. Am I just a dumb Kirk hater? Or did I make a few good points in my ramblings? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!
Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. Valentine’s Day was earlier this week, so I thought it was the perfect time to explore some of the most iconic romantic couples in film. I had intended to break this into two blogs, one on couples and the other on love stories, but the lists ended up basically the same. Anyway, I’ll be examining these couples and what makes their characterization and relationship so ionic. At the end of each entry, I’ll note their relationship’s best quality that a writer should take away for their own efforts. Of course, this is all highly subjective, so please don’t flame my opinion. With that said, let’s get started!
Number Ten – Steve Rogers and Peggy Carter (Marvel Cinematic Universe)
Romance isn’t a central theme of most Marvel films, being more focused on typical superhero tropes of stakes and personal growth. Still, the bond between Steve and Peggy stands as one of the cornerstones that brought the Infinity Saga to its truly amazing conclusion. Their chemistry in Captain America: The First Avenger is one of the best parts of that film, and though their interactions are limited after that, Peggy remains the one constant in Steve’s life. She’s his guiding light, his true north. He may have tried to move on in the modern day with Peggy’s niece, Sharon (ew), but Endgame showed that it always comes back to Peggy. Seeing Steve finally get his chance to reclaim the life and love that circumstances stole from him was intensely satisfying.
Final takeaway: True love endures across generations and even through the multiverse.
Number Nine – Harry Burns and Sally Albright (When Harry Met Sally…)
Can men and women ever just be friends? The philosophical answer to that burning question remains unclear, but the answer for Harry and Sally was a resounding “no.” Through multiple chance encounters spanning college and much of their early careers, these characters go through one of the quintessential will-they-won’t-they romances in all of film. I’m not a romantic comedy guy at all, but I think what makes this film so enduring is how the titular relationship makes the viewer think. Why can’t Harry and Sally just be friends? Either their friendship pushes them towards romance or they hate each other’s guts, nothing in the middle. Is this natural, or is it a subconscious choice? If so, who’s choice? Does Sally intentionally push Harry away for him posing the question? Did Harry ask the question to subliminally push their friendship in a romantic direction? Or is he simply one of those men who are able to be honest about male tendencies when dealing with women? This relationship can only be described as the realest around.
Final takeaway: Sometimes, love must endure tough questions before it can blossom.
Number Eight – Princess Anna and Kristoff (Frozen)
Disney Animation has had more than a few strong couples over the years and I knew I wanted to include one on this list. Still, which couple? Belle and Beast are a tale as old as time, Tiana and Naveen make each other better, and Aladdin and Jasmine are an iconic power couple. That said, I went with Anna and Kristoff because they have something too many film couples lack: wholesomeness. Their relationship is incredibly pure. They don’t begin as love interests, but they don’t use the enemies-to-lovers trope either. They grow into their relationship naturally. The conflict of the story forces them to become a strong team, and through that teamwork, they slowly realize how much they care about each other. They don’t change for each other, they just figure out how well they work together. And even when troubles come, such as Kristoff’s loss of confidence in Frozen II, they know and trust in the solid foundation they’ve built. As Kristoff said, their love isn’t fragile.
Final takeaway: Don’t force a relationship trope like enemies-to-lovers if it’s not needed.
Number Seven – Jack Dawson and Rose DeWitt Bukater (Titanic)
From an entry that avoids tropes to one that embraces two at once: love-at-first-sight and doomed-from-the-start. In a well-executed, if overdone, beginning, Rose and Jack fall for each other when Jack prevents her from committing suicide to avoid her loveless engagement. From the setting alone, the audience suspects from the beginning that their story will end tragically. The story does take place on the Titanic, after all. Still, this relationship is not one of equals in terms of the story, as the plot skews heavily towards Rose. Jack largely functions as a device to bring Rose out of her shell and help her find the fulfillment she had been lacking in her life. Combine this with the fact that we know an elderly Rose is telling this story in the future, and it comes as no surprise to the audience that Jack perishes in the freezing waters of the Atlantic. Still, Rose could have made just a LITTLE room for him on that raft! This is a classic love story, though I did knock it down a peg or two due to its predictability and plot holes.
Final takeaway: If tropes are appropriate and required, embrace them.
Number Six – Elizabeth Bennett and Mr. Darcy (Pride and Prejudice)
The 2005 adaptation of Jane Austen’s classic is renowned for its faithfulness to the story and strong acting. Leads Keira Knightley and Matthew Macfadyen are on point from the start, chewing up scenes left and right as they reenact the most famous enemies-to-lovers story of them all. What’s remarkable about this love story is just how unlikely the ending seems in the beginning. Yet as the story progresses, we see the ending become more and more likely. Most impressively of all, none of it feels forced or implausible. I’ve already listed this film in my blog of the most satisfying endings in film, and all my commentary from that entry holds true here. Even though I’m not a fan of historical romance dramas, this one stands up as perhaps the best of them all.
Final takeaway: If enemies are going to fall in love, make sure it feels earned.
Number Five – Westley and Buttercup (The Princess Bride)
From a couple with relationship drama galore to one with almost none at all. In the case of Westley and Buttercup, that’s a good thing. Theirs is one of the sweetest romances in all of storytelling. They’re in love almost from the outset, plain and simple. Their story doesn’t follow the typical tropes of enemies-to-lovers or will-they-won’t-they. Instead, the story has drama and conflict from the outside forces seeking to deny them their happy ending. As a result, there is a startling amount of equality between these characters, as each is working through their own part of the story to reunite with the other. Buttercup may be a damsel in distress, but she often doesn’t really feel like it. Whether physically together or separated, Westley and Buttercup have an “us against the world” mentality, and it serves the story quite well. I know this film has a massive fan following who would skewer me if I didn’t include it on this list. As you wish.
Final takeaway: Relationship drama isn’t always necessary.
Number Four – Tony and Maria (West Side Story)
This 1961 movie retelling the Shakespeare classic features perhaps the most famous star-crossed lovers in film. Similar to Westley and Buttercup, Tony and Maria face very little relationship drama once they realize they’re in love. The drama and tension arise from outside forces – in this case, their rival gangs wanting to destroy each other. More than any other couple on this list, Tony and Maria are willing to die for each other and their love. That was the key factor that placed them above Westley and Buttercup. Both couples were willing to make the ultimate sacrifice, but Tony actually did. While their tale of doomed love is ultimately very simple, it’s also iconic and unforgettable.
Final takeaway: If lovers would die for each other, they’d better mean it.
Number Three – Rick Blaine and Ilsa Lund (Casablanca)
Ah, Rick and Ilsa. A classic example of the one that got away – twice, no less. Their romance blossomed under the most chaotic of circumstances, as they met in Nazi-occupied Paris during WWII. She believed her husband had been killed while escaping from a concentration camp. Having nobody else to turn to, Ilsa clings to Rick and the two plan to flee Paris. Of course, Ilsa soon learns her husband is alive and leaves without an explanation to return to him. In the subsequent two years, Ilsa’s love for Rick never falters, though Rick is bitter and resentful over how she left. Of course, once she finally tells him the whole story and admits that she still loves him, Rick understands how much of a selfish ass he has been. Now a changed man, Rick makes the difficult choice to help Ilsa and her husband escape Casablanca to neutral Portugal. Their final goodbye on the tarmac is one of the most iconic moments in the history of cinema, and even as they still love each other, Rick shows his love selflessly by making Ilsa leave on the plane with her husband. Here’s looking at you, kid.
Final takeaway: Sometimes, true love requires letting someone go.
Number Two – Scarlett O’Hara and Rhett Butler (Gone with the Wind)
When great cinema couples are discussed, this pairing is probably the one most people think of first. Scarlett and Rhett are the quintessential southern romantic melodrama. Neither are particularly good people, certainly not at the outset, but this adds to why their relationship is so iconic. Scarlett is a spoiled, prissy southern belle who only wants to marry her cousin’s husband. Rhett is a self-declared cynic with no honor, though he respects those who do possess honor. Through Scarlett’s first two marriages and the trials of the Civil War, both eventually grow as individuals. After Atlanta burns, Rhett decides to stop profiting off of his smuggling and actually join the military as a soldier. Scarlett has spent the war scheming and ladder-climbing but eventually uses her sharp mind to help her family recover in the post-war era. These changes lead to Scarlett and Rhett finally getting married and having a child. Yet even with this seemingly happy turn, Scarlett’s self-destructive personality continues to bring misfortune. She refuses to sleep with her husband after losing her figure postpartum, building anger and resentment in Rhett. After losing her father, her daughter, her second unborn child, and her cousin, Scarlett is at the end of her rope. Yet with her cousin dead, Rhett decides the time has come for him to leave so Scarlett can, at last, be with her cousin’s widower. At that moment, she realizes she loved Rhett all along, but too little too late. She vows to find a way to win Rhett back, but whether or not she succeeds is left unclear. Theirs is a romance of tragedy and misfortune, so much of it due to their own egos.
Final takeaway: Dysfunctional relationships create great drama but must be done well.
Before we get to the top pick, let’s do a few…
Honorable Mentions
Katniss Everdeen and Peeta Mellark (The Hunger Games)
A very popular pairing among fans of sci-fi. While Katniss and Peeta began their relationship out of necessity, doing their best to survive the Hunger Games and build a better life in Panem, it eventually grew into true dedication and commitment to each other and their ideals.
Frances “Baby” Houseman and Johnny Castle (Dirty Dancing)
While the audience might have thought this was going to be a good girl/bad boy pairing, it turns out that Johnny is a decent person. Their relationship progresses through Baby’s dance lessons with Johnny, through which she helps him overcome his self-doubt about his social status and even persuades her family to view Johnny differently.
Clark Kent and Lois Lane (Superman)
Almost all superheroes have love interests, but no hero is more closely tied to his counterpart than Clark Kent. Lois’ career and incessant ability to get herself into trouble are the catalysts for too many adventures to count. In addition, Christopher Reeve and Margot Kidder were simply iconic in the roles, a super pairing that has yet to be topped.
Aragorn and Arwen (The Lord of the Rings)
This fantasy couple’s sappy sweetness manages to rival that of even Westley and Buttercup. There was something of a love triangle that included Éowyn, but let’s be real. It was always Aragorn and Arwen. The heir of Isildur who chose exile and the elven princess who chose a mortal life. Pure poetry.
And with that, it’s time for…
Number One – Han Solo and Princess Leia Organa (Star Wars)
This is it. The perfect romance. The greatest love story ever told. Han and Leia encompass so many romantic tropes it isn’t even funny. Enemies-to-lovers, will-they-won’t-they, and complete-each-other, just to name a few. In A New Hope, the potential for a pairing between them seemed completely impossible. After all, Han is a heartless smuggler and mercenary who’s only in it for the money. Leia is an idealistic leader in the Rebel Alliance who just watched the destruction of her home planet by the Empire. They couldn’t begin farther apart, yet Han’s wink at Leia at the end of the film hints at the incredible romance that is to come. We see Han grow a conscience and help the Alliance in their moment of need, helping him start to become a true hero. And when Han is forced to flee with Leia in The Empire Strikes Back, Leia is forced to confront the harsh reality of the trouble that frequently follows Han, explaining his tendency to improvise in intense situations. Their romance happens both naturally and also out of the blue, and this heartless smuggler ends up capturing the heart of a princess. And, of course, who could forget the ultimate profession of romantic feelings just before Han is frozen in carbonite? I love you. I know. The exchange is made even better by its reversal later in Return of the Jedi. Seriously, you won’t find a better romance in storytelling than this one. Don’t try to change my mind, I will fight you.
Final takeaway: Everything. Everything about this couple is perfect.
And that’s going to do it for this romantic blog post. Of course, I’d like to know what you think. Did I get it right? Screw it all up? Who did I leave out? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!
Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. Today, I decided to get back to my artistic roots as a musician. Yes, I was a musician long before I was a writer, specifically a classically trained trumpet player. As such, I usually work and write to music. While I can do my standard Corporate America job listening to almost any type of music, my needs are far more specific when writing a story. Those tastes skew almost exclusively to instrumental music with a heavy dose of classical, along with some movie and video game soundtracks. Some of this music is helpful in a very general sense of inspiration, while other pieces are useful in very specific ways. Today, I wanted to talk about the pieces I listen to most often while writing and why they’re so helpful in my efforts. This is, of course, only my opinion. As well, this isn’t necessarily a ranking of quality but more a ranking of which music I use most often. Anyway, that’s enough introduction. Let’s get to it!
Number Ten: Shostakovich – Symphony No. 5
This symphony is an inspiration for reasons both musical and historical. Composer Dimitri Shostakovich was having a rough go of it in the Soviet Union. He had been forced to withdraw his Symphony No. 4 due to criticism from the Party and now had no choice but to write a piece embodying the true spirit of Soviet Russia. Thus, he crafted this masterpiece in 1937. Its premiere was nothing short of a triumph, with both the public and Party officials praising it unanimously. But best of all, we’ve learned in recent years of the tiny measures of protest Shostakovich snuck into the music. In particular, the final section of the finale represents intense patriotism on its surface, but one can still feel something dark and sinister lurking below. The praise and adoration in the music are strained and forced, just as Shostakovich was in composing this symphony. It continues to remind us of the dangers of censorship and how a creative mind can find tiny ways to win victories against such Draconian measures. Whether for the political protest he snuck into the score or the sheer power of the music itself, this is a symphony for the ages.
Number Nine: Various – The Legend of Zelda
I’ve always loved The Legend of Zelda as a video game series. It truly encapsulates the sense of adventure I love in great storytelling, and in no way is this better represented than in the music. From exciting and swashbuckling to lonely and mysterious, the music always hits the right tone. I especially love that, even with the familiar themes used across the decades, each game has its own unique style and tone. In The Windwaker, for example, much of the music evokes shanties and other sailing music, fitting well with the oceanic setting of the game. The music of Twilight Princess is darker and more dissonant, reflecting the horror elements seen in the game’s story. Breath of the Wild has more minimalist music, almost nonexistent at times, which works with the post-apocalyptic survival gameplay. These games are a masterclass in telling a story through music, no lyrics needed.
Number Eight: Dvorák – Symphony No. 9
This piece, popularly known by its subtitle, For the New World, is more generally inspiring for me. It’s been one of my favorite pieces of classical music for years, simple as that. During his time in America, Dvorák set out to write a truly American symphony. His research resulted in him combining traditional Native American music and imagery, African American spirituals, and folk-style music into an impressive work. I love things about every movement of this work, from the adventurous opening and the beautiful second movement to the war-like third movement and the exciting finale. This is one of those pieces I could just listen to on repeat… and sometimes do.
Number Seven: Gershwin – Rhapsody in Blue
Is there a more American piece of music than this one? Not to me. George Gershwin’s jazz concerto for piano has been scored again and again over the years. Whether in its original form for jazz big band, the second version for pit orchestra, or the later orchestration for a full symphony, this piece is quintessentially American. Some, myself included, consider it the theme music of New York City itself. While I’m partial to the symphonic version, all versions of this piece are awe-inspiring and should be appreciated. From the greasy clarinet opening to the frantic subway-inspired finale, this piece always makes me excited to tell a story.
Number Six: Williams – Star Wars
While the various films and TV shows of the Star Wars franchise are all over the place in quality, the music is consistently stellar. This is in large part to the greatest composer of film scores the world has ever seen, John Williams. It doesn’t matter which film’s soundtrack I put in, any of them always put me in the proper mindset for writing. In particular, “Binary Sunset” from A New Hope does wonders for my brainstorming efforts. Whenever I’m working on outlining a story or trying to come up with a new idea for a character or plot point, this is my go-to.
Number Five: Beethoven – Symphony No. 9
Perhaps the most universally recognizable and beloved classical piece of them all, Beethoven’s final complete symphony simply oozes inspiration. It’s so iconic that many refer to it as the only ninth symphony. Though it has its detractors who claim it to be overrated, I can honestly say this is the greatest symphonic work ever composed, especially given that Beethoven was deaf during its composition and premiere. The finale is majestic, as everyone knows, but the entire symphony is truly a complete work of art. As mind-blowing as the “Ode to Joy” is, I encourage anyone listening to this piece to take it as a whole, complete work. It makes the ending far more satisfying, which is the biggest lesson this piece always teaches me. The most dramatic ending is diminished without a meaningful journey to precede it.
Number Four: Rimsky-Korsakov – Scheherazade
This symphonic suite should be near and dear to the hearts and minds of all storytellers, as it brings to life one of the original storytellers, Scheherazade herself. From the start of the piece, we hear the themes of the Sultan and Scheherazade stated clearly before these themes begin to meld into the rest of the music. The Sultan’s domineering theme softens to depict Sinbad’s ship on the sea and Scheherazade’s mesmerizing theme dances throughout. This incredible musical storytelling continues through all four movements, with both of the main themes becoming more varied as the Sultan grows impatient and Scheherazade begins to weave ever more complicated stories. And while I love a bombastic finish to symphonic works, this one could only conclude with a quiet coda after the rousing finale. With all the complexities of the piece, the themes of the Sultan and Scheherazade are brought back to a quiet simplicity, showing the Sultan pardoning Scheherazade before she finally gets a peaceful night of rest for herself. Seriously, I get chills every time I listen to this one. Nothing more I can say.
Number Three: Beethoven – Symphony No. 5
Another Beethoven symphony, and while this one is certainly inspiring, I also listen to it to help get me into a very specific mindset. This symphony is an excellent example of how Beethoven can take something simple, such as the famed four opening notes of this piece, and spin them into something increasingly complex. Those opening notes, often thought of as Fate knocking, return almost incessantly throughout this work. Whether played in the quiet background, as a startling fanfare, or building towards the finale’s climax, these notes are ever-present. This is precisely why this piece helps my writing so much – it gets me in a mindset of building on increasing complexities. When I’m working out a convoluted series of events and have to make sure all the boxes are checked, this music focuses my mind to that level. It’s proven invaluable for me time and time again.
Number Two: Uematsu – One Winged Angel
You already know that I love video game soundtracks, and the final fight against Sephiroth in Final Fantasy VII features possibly the single greatest piece of music ever written for a video game. “One Winged Angel” is powerful, intense, mysterious, and just a little terrifying. In other words, it’s everything one should want to hear while fighting a final boss. That’s why this is my go-to music when I write fight scenes, particularly the ultimate climax of a story. Just as a video game’s final boss should be the culmination of everything the player has learned while playing the game, the climax of a story should be the culmination of all the themes and character arcs therein. No piece of music represents this ideal more than “One Winged Angel” in my opinion and I hope to be listening to it for many future climax scenes to come.
Before we get to the winner, let's do a few...
Honorable Mentions
Mozart – Symphony No. 39
Though Mozart’s subsequent two symphonies may be more famous, this one is special to me, as it was the first symphony I ever performed as part of a full orchestra. With Mozart’s impeccable precision and memorable themes, it remains an excellent piece to write to.
Respighi – Pines of Rome
This tone poem is a beautiful example of program music, telling a specific story through the composer’s vision. The opening is frantic and fun, I adore the haunting, lyrical melodies of the middle two movements, and the powerful finale is one of the best endings to any piece in the classical repertoire, in my mind.
Giacchino – The Incredibles
Michael Giacchino composed one of the greatest film soundtracks of all time in this Pixar classic. His music perfectly captures the feel of Silver Age superhero comics while also giving those heroes room to breathe in their private lives. Obviously, this soundtrack provides a great mindset for writing fast-paced action sequences.
Mahler – Symphony No. 5
Gustav Mahler is my favorite classical composer, and this is my second favorite of his symphonies for several reasons. One, there are many incredible sections to perform on trumpet throughout this work. Two, it’s hugely famous, being used in movies and TV shows. But most of all, it’s an incredible ride of emotion. That said, it still falls to…
Number One: Mahler – Symphony No. 1
While Mahler’s Fifth may be my favorite symphony to perform, his First is far and away my favorite to listen to. To me, this work is the perfect musical representation of the writing technique of The Hero’s Journey. The hero has humble, idealistic beginnings, which give way to growth. Along the way, he finds love and humor, but dark times are unavoidable. Yet even through these stormy moments, the hero perseveres and emerges from his trials triumphant. As I previously stated, Mahler is a true master of emotion in music. Throughout his life, he wore his emotions right on his sleeve, and few composers put more of their soul into their works than Mahler. I frickin’ love every second of this symphony and it’s by far my most frequently listened to piece of music for my writings.
And that’s going to do it for this list of music. I hope you found it entertaining, maybe even helpful in your own writing endeavors. Sometimes, that one new piece of music is exactly what a writer needs to get past a block. Feel free to let me know what you thought in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!
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