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Dumbledore’s homosexuality won’t be brought up in FANTASTIC BEASTS sequel

Dumbledore’s homosexuality won’t be brought up in FANTASTIC BEASTS sequel

The build-up to the FANTASTIC BEASTS sequel is heating up with its release this year – but not in the way you might expect. By Jamie White.

After it had been revealed by JK Rowling that Albus Dumbledore, best know as the Headmaster at Hogwarts, is gay, there was some backlash. The main complaints with this haven’t had anything to do with Dumbledore’s sexuality at all but how Rowling handled his coming out, and how Warner Bros. is continuing to mishandle it.

If a character of the status of Dumbledore is gay, that should be explored as part of his character within the books and the films, not just stated. Now while it’s too late to retcon the previous books and films, Fantastic Beasts: The Crimes of Grindelwald seemed to be the perfect opportunity to explore Dumbledore’s character further, especially in terms of his sexuality.

But nope. Director David Yates has confirmed that this won’t be happening with this sequel – despite saying that Dumbledore and Grindelwald fell in love. There’s still a chance that this will be explored implicitly and even in future sequels, but surely the time is now.

Many television shows are portraying homosexual characters in a good light (mostly), but major film studios seem afraid to take the plunge.

Hopefully, we see a resurgence of great LBGT characters coming out (no pun intended!) in major superhero, fantasy, and sci-fi films in the future… but for now, drama seems to be the main genre where they’re given a chance (MOONLIGHT, BROKEBACK MOUNTAIN, CALL ME BY YOUR NAME). Which implies that Hollywood still thinks that characters’ gay identities are still need to be ‘an issue’.

Read more on the subject right here:

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WriteMovies Oscars Nominees Reaction – Original Screenplay

WriteMovies Oscars Nominees Reaction – Original Screenplay

WriteMovies Oscars Nominees Reaction: Original Screenplay – The Original Screenplay category is where we have a couple of big hitters come into play… GET OUT and THE SHAPE OF WATER will be the big favorites for this category – and rightly so. Both are outstanding pieces that deserve some recognition in this category.

But let’s not forget the other three. THE BIG SICK, LADY BIRD, and THREE BILLBOARDS are all strong in their own right, and LADY BIRD in particular could challenge the big two in this category.

What is particularly interesting in this category is that THE BIG SICK is the only film that does not have its writer(s) also directing, while Jordan Peele, Guillermo del Toro, and Greta Gerwig have all received directorial nominations, respectively. This category is so difficult to call – and that’s just great! John and Jamie will try and call it anyway, though…


John: Well, well, well… what a toughie! I don’t think there will be a surprise here, though. I’m going for GET OUT here.

Jamie: As much as I love del Toro, I think GET OUT or LADY BIRD will take this. And because I think del Toro will take Directing, Peele will get this as a “consolation”.

© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

WriteMovies Oscars Nominees Reaction – Adapted Screenplay

WriteMovies Oscars Nominees Reaction – Adapted Screenplay

With the full list of Oscars nominees having been revealed this week, it’s time to get excited for the most glamorous awards ceremony in America. THE SHAPE OF WATER leads the way with 13 nominations, while Meryl Streep got her annual nomination for just appearing in a film (this time it’s THE POST), and there were one or two surprises. One of which happened in the screenplay categories. So, let’s take a look, shall we?

Adapted Screenplay Nominees:

THE DISASTER ARTIST, Scott Neustadter & Michael H. Weber
LOGAN, Scott Frank & James Mangold and Michael Green
MOLLY’S GAME, Aaron Sorkin
MUDBOUND, Virgil Williams and Dee Rees

The Adapted Screenplay category is one of the most debatable categories considering the projects excluded. It feels strange to not have further biopics included in this category – THE DARKEST HOUR immediately springs to mind as one noticeable exclusion. But this category has one nomination that will spark some conversation…

The category is fairly… understated really. All excellent films, but this category doesn’t have the same stand out picks as others do. Still, some interesting inclusions. Most notably, LOGAN. This is the FIRST superhero film (that we can think of) that has been nominated in the Adapted Screenplay category. THE INCREDIBLES got a nod for Original Screenplay, making LOGAN only the second superhero film to EVER get an Oscar screenplay nomination.

The rest of the category isn’t as “standout” because of that, but some noticeable inclusions of THE DISASTER ARTIST and MOLLY’S GAME add some meat to the bones. CALL ME BY YOUR NAME and MUDBOUND are perhaps lesser-known to wider audiences, but the latter should definitely not be discounted considering it’s WWII setting and juxtaposition of white and black veterans; with GET OUT a strong contender this year, do not count MUDBOUND out!


John: I think considering the hype of GET OUT, and the racial tensions and relations in this country, MUDBOUND could be the winner here.

Jamie: I would love it if LOGAN won and set the new precedent for superhero/comic book films. It’s not even a superhero film really! Saying that… I think THE DISASTER ARTIST may take its token award in this category…

Watch out for our thoughts and reaction to the Original Screenplay nominations coming Monday…

Check out the full Oscars nominees list here:




By guest author Calix Lewis Reneau, writer/director of and producer and creative of features, television, print, music, and new media.

“You’ve probably heard the writing advice to “murder your darlings.” This means to be ruthless in deleting clever writing that doesn’t serve the greater purpose of your work. I’ve learned that a writer must take this a step further. To get the best story on the page, we must be willing to kill the story in our minds.

If you’ve ever tried to explain a dream you’ve had after waking up, then you can understand this. In your dream everything was vivid, real, logical, connected – a complete story. But as it immediately fades, even the simplest narrative detail slips from your grasp. Worse, when you can remember the precise details, they sound pedestrian and disconnected in the telling.

The same is true of the story you have in your head which you’re so passionate to tell. For reasons too complex to relate in a short article, we humans don’t think in a simplistic, connected, linear fashion. On simple fact can help reveal to that complexity: there are more than one hundred trillion synapses (neural connections) in your brain, at a minimum. That’s a thousand times more than the number of stars in our galaxy. And your connections in your brain are unique in all of history to you alone. What you think, what you see, what you feel, what you dream – your story – has never been before, and will never be again.

The story you want to tell is meaningful to you for the same reasons you are so invested in your dream when you’re having it at night. It’s immediate. It’s real. It’s consists of more than what can be put in words on a page, or images on a screen. The story is made up of your unique emotional connection to the material which drives you. It finds meaning in your personal history. It finds context in your life and worldview.

In short, the story in your mind is your story alone. It can never be anything more than that.

As writers, we’re compelled to share that story, impossible though it might be to do so. That’s where the skill, the talent, the hard work come in. The job of the writer is not to tell the story in our heads. It’s to translate the unique inner experience into a tangible form which will hopefully lead others to a similar journey. To laugh, to cry, to learn, to grow, or just to be entertained.

This translation requires that we understand the connective elements that we share. Functional communication requires two parties: someone to say something, and someone to hear it. You have something you want to say, need to say. As a writer, the fundamental task at hand is to say it in a way which will clearly give your intended audience what you want them to have. It’s no use to complain that others can’t enjoy the dream you had last night in the same fashion as you did. The hard work that sets successful writers apart from all others is the learned ability based on innate talent to take that powerful inner experience and craft something that leads others to their own unique powerful inner experience that is reflective, that is connected through our common humanity.

To do this, we must be ruthless in “murdering our darlings” at the most fundamental level. This means recognizing from the start that the story in our heads can’t ever function as the story we want to tell. But that’s okay, because once we accept that, the story in our heads can become the powerful inspirational genesis for the stories we put out into the greater culture using our skill and talents of translation as writers. Your focus, passion, ability, and self-discipline is the refiner’s fire which will burn away the dross of self so you can change the world with the stories you have to tell.”

Calix is a full-time creative working in features, television, print, music, and new media. He has written professionally for just about every type of media imaginable, including a stint as a top-selling greeting card writer. These days he spends most of his time juggling projects at his own production company which are in various states of entropy, from nascent ponders to completed features winding their way through post production and into distribution. His job title at Calix8 Productions – “iconoclast gadfly” – pretty much explains his approach to work, life, and the mysteries of the universe.

You can learn more about Calix at his poorly-maintained personal website – – and see the trailer to his most-recent completed feature film (as writer/director) at

Casting News for Amazon Superhero TV Show

Casting News for Amazon Superhero TV Show

The new Amazon superhero TV show is building up steam with announcements on casting and with more details coming out about the show itself. Article by Jamie White.

Adapted from the same comic writer of PREACHER, Amazon is moving forward strongly with its new show, THE BOYS. Antony Starr, Chace Crawford, Dominique McElligott, Jessie T. Usher and Nathan Mitchell are all onboard.

While the cast might not immediately catch the eye, the concept might. Here’s how TV Line describes the show… “The Boys is set in a world where superheroes have let fame go to their heads and gotten corrupt — and a ragtag team of vigilantes sets out to take them down.”

Sounds cool, right? After the whole host of MCU films, the trash of DC films and the consistently decent X-Men films, this type of superhero story will surely add a bit of much-needed variation to the genre.

This is something you can use as writers, too. When you’re writing a genre script, think about what makes that genre tick. What do we usually expect from that genre? Then, flip it on its head, add a twist and mix it up to provide something interesting and unique. We’ve often heard it said that writers should “give us what we expect, but not in the way we expect it.” That’s how you can meet, and exceed, genre expectations.

Check out Ian’s Insights article about how Genre really works, to find out more!

© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.