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Deadpool 2: Where Tone Meets Genre

This week, we are going to be looking at Deadpool 2 by Rhett Reese, Paul Wernick, and a new addition to the writing team, Ryan Reynolds.

If you missed my podcast on the original Deadpool, you might want to check that out as well, because one of the things that is exciting about Deadpool 2 is the way it manages to maintain a consistent tone, even over the course of a very different film.

If you’ve studied TV writing in our  TV Drama Classes, TV Comedy Classes or Web Series Classes, you know that every episode of a TV show should feel the same, and also feel different. that it should deliver the same genre experience to the audience, the same tone, the same feeling, the same experience, while taking them through a story that also feels very new, and very fresh, and very different.

But now, we’re seeing the same phenomenon in big action movie franchises, like Deadpool or Guardians of the Galaxy or The Avengers, where each installment needs deliver on those expectations of the audience.

So, setting aside the questions all over the internet about “which is better, Deadpool 1 or Deadpool 2?” — rather than comparing these films in terms of which is a more successful movie, instead, what I want to do is I want to look at this question, which will be valuable for any writer, whether you’re working in features or TV.

How do you maintain that consistent tone?

How do you create one screenplay after another that has the same feeling that feels entirely fresh and also entirely consistent?”

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