Category Archives: Fanedits

Power Rangers Zeo: Good As Gold-The Scorpion Rain Edit [Fanedit]

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As part of the 25th anniversary celebrations, here’s the latest draft of a new Power Rangers Zeo fanedit I put together. It’s the season finale “Good as Gold” with it’s climatic battle radically altered so that the Zeo Rangers face off against Lord Zedd and Serpenterra. This also provides more adequate closure for the crew of the Lunar Palace as they finally withdraw from the moon and retire until the rise of Dark Spectre.

If you’re new to the Scorpion Rain hoax, visit this link for details on it’s origins and it’s legacy

https://www.grnrngr.com/documents/scorpionrain/

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A passion project of mine for well over eight years, this is it in it’s third form. As I have improved my skills as an editor over the years, I’ve always found going back to this hybrid mish-mash of episodes a very creative challenge

If you’re wondering why the Cogs are still fighting the Rangers here, just assume Zedd has control of them after taking out the Skybase or they’re the ones the Tengas had been taking the wires out of

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Justice League-Doomsday Clock Samples (Fanedit)

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At the moment, these test samples (all but one) do not represent the final product and are just for fun.

Here are video samples

Alternate Barry recruitment (will be in finalised edit)

password: flash

Martha/Lois Conversation Post-Titles (may or may not be final)

password: martha

 

Luthor and Deathstroke Meeting Inserted Into Movie

Password: luthor

 

“Farm Ending”

 

password: farm

MORE SAMPLES COMING SOON

Amazing Spider-Man-Moments of Need [Fanfiction]

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THE AMAZING SPIDER-MAN:

MOMENTS OF NEED

(Contains spoilers for Amazing Spider-Man#1 by Nick Spencer and Ryan Ottley)


When a weary and troubled Peter Parker dropped by Mary Jane Watson’s apartment, It was one of those moments in time where everything paused, and all that was laid out before them was their eternity together.

Thier eternity as friends, as lovers, as partners.

Reality had meddled in those moments, diminished them, stripped them of the belief those moments could be eternal, and they had been more than content to invite this cruel paradigm in.

But recent days, recent events, had drawn them closer to their eternal connection once more.

As Peter bore his soul to her, as he had done so many times, and was as unsure and as frightened as he’d ever been when sharing his failings and insecurities, Mary Jane had thought it motivated by the recent death of Flash Thompson, sacrificing his life to halt the rampage of the vindictive and calculating Norman Osborn.

She thought it’d even had something to do with how willing she’d been to stand side by side with him and Venom against Osborn.

Perhaps these moments in their endless waltz together had touched him as much as it’d touched her, causing her to reflect on what she had come to reject in the past, perhaps realizing that it was, again, just another instance in eternity of all too fleeting hesitation.

Peter continued, telling her that he was uncertain of whether or not he was making a mistake, apologizing for asking this much of her.

But Mary Jane didn’t care much for the insecure moments, she focused on the one precise moment that counted.

The moment of need.

It was Peter conveying his need for her in his life, to help him survive the unsustainable moments, that convinced her, at this precise time, to embrace Peter with a warm embrace and a gentle reaffirming kiss.

He had told her he was in need of her once before, back when they were trapped in an airport under siege, and some anguished part of her had always told her Peter had salvaged something back then, something she felt was just out of her soul’s reach, but one she felt compelled to grasp through this latest re-connection.

If there was something that had been lost, it would be found again…perhaps even born again.

All it took to draw her back into Peter’s world were those precise moments of need.

“We’re in this together Pete…and we always have been” she said to him, as their endless waltz resumed again.

Doctor Who-Let’s Kill Hitler [Fanedit]

 

When certain events in history happen, people always reflect on where they were at the time.

For me, I recall exactly where I was when Let’s Kill Hitler went out…it had been my parent’s silver wedding anniversary, we had a grand old tea at a swank little inn and many family members came back to the family homestead for a few drinks and a bit of chatter. I had to watch the episode in my bedroom along with my cousin and little brother. At one point, an uncle joined in.

This, for many, is where not only series six went wrong, but you got the distinct feeling DW’s days as the “cool” thing to watch were numbered in the years to come.

It took a year for it to sink in, but this was it. The first post-hiatus episode following the gripping “A Good Man Goes to War” and what did we get? A flipping River Song rom-com disguised as an origin story. If anyone watching the show had a pre-existing distaste for Alex Kingston’s performance, their tempers were not quelled by this.

And yet, I quite like it.

For all the ham, the comedy, the “clever lie” bit which deconstructs the temporal grace of the TARDIS, and the gimmicky misleading title which doesn’t involve the tantalizing time travel conundrum of what to do with Adolf if you met him, it’s a very energetic script, it does offer some insights into what the Silence are, and the Tesselecta is a great concept, albiet more for the time travel modus operandi than ripping off the Numbskulls in the Beano.

I may enjoy a lot of this episode, but make no mistake, this is where series six died a gurning death over the course of 45 minutes and the Moffat era was never regarded in quite the same light again.

You can enjoy something, but you must always be aware of it’s faults so you can understand the side who trash it and not callously dismiss them in the name of the 10/10 club mentality that think the whole series is sunshine and rainbows.  You see this all the time in certain Whovian podcasts on Youtube and reaction channels, save for maybe two (Zaredit personally recommends Blindwave and Seskasays for some proper analysis)

Ah, but there wouldn’t be an edit if there wasn’t something to cut now would it? And there was a lot to go, making this, the second of my World War II themed edits, to run at a considerably shorter run time, this one clocking in at 35 minutes.

The episode begins with the way it should have, with Hitler at the front and center of the action. If you’re going to mishandle the furher, at least make it seem like he’s important…set up a bit of a mystery as to what the Tesselecta want with him, and give the Doctor a massively impactful entrance with the TARDIS crashing through…then have the titles come as Hitler, sodding Hitler, thanks our intrepid travelers for saving his life. DUN-DUN-DUNNNNNNNNNN.

Gone too is the creation of the crop circle summons and the introduction of Mels in the stolen car, and the flashbacks to her childhood with Amy and Rory.  All you need to know from the moment Mels is released from prison is that she’s a friend of the family, she set Amy and Rory up together, and she’s trouble.

Afterwards, one of the last things to go was the ultimate in time-wasting filler, where Matt Smith does a little bit of self-sabotaging and diminishes the enigmatic performance of his Doctor by indulging  in a childish tantrum about guilt and yelling out fish fingers and custard a gazillion times to really emphasize to the whole audience that Doctor Who serves the children’s whims above the adults or the family.

And that’s your lot. Episode ends on the Doctor handing River her diary and the Doctor/Song ‘ship era is well and truly set to sail in a few filler’s time. Hello Benjamin.

EDIT TEMPORARILY DOWN

Doctor Who-Victory of the Daleks [Fanedit]

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Another edit revisited…with a lot more experience under my belt, I was able to put this together with a bit more finesse.

For those new to the blog, this is a minimalist 30-minute cut of Victory of the Daleks, Mark Gatiss’ first major script for the Moffat era and the second big letdown of the series one episode after The Beast Below. The signs were all there from the two that trouble was brewing, but fortunately the rest of the series was top notch quality and spared such thoughts from manifesting in most fans’s minds until the mass bungling of the latter half of series six.

Victory of the Daleks biggest crime is the New Dalek Paradigm, aka the Teletubby Dalek Rangers…which I couldn’t remove. If I could, I would, I swear[/George Micheal], so I decided to make do with removing the other big misfire of the story…Bracewell, the Dalek-enginerred scientist who “develops” the gorgeous looking Ironside Daleks (why didn’t Moffat keep them on?)  is revealed to be a living bomb.

What happens next is a truly despicable bit of emotionally manipulative storytelling where the power of love saves the day for the first time in the Moffat era. It’s time consuming filler designed purely to drag out the Daleks’ inevitable escape and nothing more, so off it goes.

Also gone is the ending with Amy’s crack forming just as the TARDIS dematerializes, just to give this episode more of a one-and-done feel.

Do your worst Adolf!

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Doctor Who-The End of Time [Fanedit]

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When I first approached this edit, I wanted to try and make it appear like Ten did not go through the “he will knock four times” scenario and thus would not have to regenerate. I don’t think the final product was all that stellar, with terrible music cues leading to poor transitions and a rather dodgy narrative in places…so when remounting the project for inclusion on FE.Org, I thought it ought to be a simpler, less radical omnibus edit…which resulted in a much smoother product.

Gone is most of Part One, which has been reduced to just 45 minutes, and we open on Ten and Wilf talking in the cafe, with Ten (channeling RTD) rambling on about how regeneration/leaving the show feels like dying (thus preparing a whole generation of “woke” plebs to write off the show or grow to hate it instantly upon RTD and Tennant’s departure) , all you need to know is that Ten’s been on Earth for a while, and the mysterious connection Wilf has to him drew the two together….and we follow the scene through to it’s impactful conclusion with the reveal of Timothy Dalton’s Rassilon…and then the titles.

After that, we, like the TARDIS, take a step back through time and space to The Doctor being summoned to the Ood sphere and being informed of The Master’s resurrection…only we evade The Doctor and The Master’s encounters with homeless men and Minnie The Menace, and cut straight to The Doctor confronting the energy wielding Master in the quarry.

Three more edits after this, the first a simple joining of part one’s cliffhanger to Rassilon entering his chambers to discuss the perils of the Time War at the start of part two, followed by us skipping him learning about The Doctor and The Master locked in their struggle and learning of Earth. The reason for this is to tighten up the continuity ever so slightly, as it can be rather jarring that we go from Rassilon talking about how The Master would achieve glory for the Time Lords, only to then have their next scene be a flashback to how they learned precisely why. Luckily, I didn’t need to cut so much out of the war room meeting.

After this,  it’s all of part two up to  when The Doctor leaves Wilf at the church having given Donna Geoffrey Noble’s winning lottery ticket.

I never liked the idea of Ten going back to visit Rose in 2005, even if he kept to the shadows, it was one companion revisit too many and I don’t think The Doctor would want to reopen that void in his hearts knowing he got cucked by her and his doppelganger in “Journey’s End”

There is only one minor plot hole in the whole thing, and that was when Ten talks to Wilf about losing The Master at the quarry..but you can easily explain that away with what you didn’t get to hear at the cafe scene in the opening scene as the two got caught up on things.

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