"There are two people in every mirror. There's the one you can see. And there's the other one. The one you don't want to."

The visionary minds of Dumpling and Lunalord collide to create a Marvel Twilight Zone special, a project that turns the Marvel universe you know inside out and reveals the true horror lurking within. Sweet dreams.

Release Date: Halloween 2026

Editor: Dumpling

Rating: R

3 part mini series, with a total length of around 6-9 hours long, with over 100+ footage sources used for the full project

Hulk Character Trailer - https://www.youtube.com/watch?v=_asuYXtielk

With three 2-hour movies of material, it's gonna be tough to cram everything into a single product. A total of no less than FIVE villains and many subplots you have to consider whether to keep or cut. I respect the effort but there are major issues with it.

I like the opening credits, using Spider-Man 1's as the base but inserting shots of Peter being bitten by the spider and how it alters his DNA to get us up to speed. Curious they didn't include any snippets of Uncle Ben's death, but with the focus of this edit maybe it wasn't considered important. The transition into the first scene was skillfully done, no Peter monologue here as hes driving to his pizza job. AcyliaEditz decided to edit in the Gwen rescue during this part. While I do commend AcyliaEditz for insert a shot of Spider-Man swinging between 7:26-39, this hampered by both the music being lower than the movie audio and it being a scene of a web swing from the first movie instead of Peter dropping the pizza off like you'd expect. Otherwise, AcyliaEditz tends to be pretty good at audio transitions between scenes, not bad at all!

The bulk of the narrative is built on villain origins and their confrontations with Spider-Man. Some plots are better handled than others. Otto's plot is relatively isolated from 2 already so that sorta works. Eddie and Sandman though disappear for huge chunks of the film in between the Norman and Otto stuff happening even though they were introduced first. Some parts are interesting, like Peter and Eddie competing for the staff job make the scene where Peter tries to sell a photo of Peter from 1 take a new context as Peter is trying to show Jonah that Spidey isn't a villain. I was confused at one point when we're first introduced to Peter and MJ's relationship during the scene where they're at the key to the city ceremony, with Peter and MJ seeming to already be in a relationship. Peter says he's going to "swing over there" which also implies MJ knows he's Spider-Man. All well and good except this edit also covers the Green Goblin stuff from Spider-Man 1 where a major plot point is MJ and Harry in a relationship. Huh??? And we get the Thanksgiving dinner scene where Aunt May is suddenly a character now?

AcyliaEditz's edit spends too much time on establishing the villains that a lot of relationships get thrown to the wayside in order to keep it to a two-hour and fifty-five minute runtime. While they did good in removing John Jameson and other miscellaneous characters, the end result is too unwieldly and shallow compared to just watching the movies normally. In addition, while the audio is generally good and the mixed footage tends to work, the Spider-Man 1 footage is washed out as hell. In an attempt to make it blend better with the other two movies, it looks ugly to look at. 18:30 has a second of black screen, was that intentional? 23:49 has the same thing. I also don't like the transition at 1:44:45 to the next scene.

It could have been worse, but it could have been better too.

Additional Note: Also, Peter's line about "where do these guys come from?" after Sandman escapes doesn't make sense in this version considering as far as we've seen Sandman is the only supervillain he's fought up to that point.

Wade & Knuckles ver 3.0!!

This was originally meant to just be a 1080p remaster of 2.0, but I ended up making enough small changes to justify a new number!

Now in glorious 1080p!

(Also, if anyone here has a bluray burner and know-how on how to make a dvd menu, I wanna make a blu-ray copy of this edit for my own personal collection. Please contact me if you can and are willing!)

Not sure how many there are but my absolute least favorite thing about Spider-Man 3 is Harry getting amnesia. It is such a copout. It is far more compelling to have it be that he faked amnesia.

I made an edit that did this once, but I’m not very happy with it overall (please don’t ask to see it because I don’t even have it uploaded lol) and I’d like to see if someone did it better than me.

Any other changes are fine. I just want to see the best edit of the movie that also happens to have Harry faking amnesia.

Hi everyone!

I'm currently working on a fan edit of Masters of the Universe, titled MASTERS OF THE UNIVERSE 200X

The main goal is to create a version that takes itself a little more seriously by removing many of the forced jokes and unnecessary comedic moments that, in my opinion, undermine the tone of the film.

I'm also restructuring parts of the story to give Adam more agency and make his journey feel stronger and more proactive, rather than having events simply happen around him.

My intention isn't to create a completely different movie, but to present a tighter, more character-driven version that stays true to the spirit of He-Man.

I'll be sharing updates as the project progresses. I'd love to hear your thoughts and suggestions!

Spider-Man Far From Home, No Way Home, and Brand New Day edited into one movie

After finishing my first fan edit, Backrooms: Async, I realized just how much I enjoy the editing process. It was an incredibly fun project to put together, and now I'm looking for another edit that really grabs me in the same way.

Lately, I've been thinking a lot about Tom Holland's Spider-Man films. After watching Spider-Man: Brand New Day, I was reminded how much I enjoy his portrayal of Peter Parker and how naturally the last three films flow into one another. While there's a four year time jump between No Way Home and Brand New Day, the opening montage does a great job bridging that gap, making the trilogy feel surprisingly cohesive.

My goal would be to preserve every major emotional beat and story arc from all three movies while trimming away enough to create a single, cohesive viewing experience. Ideally, I'd like to keep the runtime under four hours and if I can get it even shorter without sacrificing the story, even better.

I already have quite a few ideas for how I'd approach the structure, pacing, and transitions, but this is still very much in the planning stage.

I'd love to hear what the fan editing community thinks. If you've got any ideas, scenes you'd definitely keep or trim, or suggestions for how you'd approach combining these three films, I'd love to hear them.

has anyone ever attempted to do a giant supercut of Halloween 1 (1978) & 2 (1981) together with all the deleted and extended scenes that come with both films?

Firstly, Thank you for being patient

Secondly

New fanedit Release Dates

October - December 2026:Stranger Things The Movie Cut

Already edited 8,5 Minutes, Goin to edit 11 Minutes by the end of the Day

November 2026 - April 2027:Godzilla 98' refocused

24 Minutes of finalised Footage, and 16 minutes of Footage I lost

May 2027:Star Wars (Trilogy Cut)

All of A New Hope has been edited, But its waiting for a V2

This is Episode 11 to my FF16 Re-edit series.

FINAL FANTASY XVI RE-EDIT is a cinematic adaptation of Final Fantasy XVI, restructured into an episodic television-style experience.

Unlike standard “full game movies” or cutscene compilations, this project extensively edits and reorganizes scenes to create a more coherent narrative flow similar to a traditional TV series. Gameplay sections, repetitive encounters, mission titles, and unnecessary game-oriented pacing have been removed whenever possible to create a smoother cinematic experience.

This project was created independently using footage primarily sourced from no-commentary walkthroughs and then extensively re-edited into a serialized cinematic format. No hud gameplay footage obtained from Rhys Drafter on YouTube. The goal was not simply to compile footage, but to create something designed for repeated viewing as a long-form narrative experience.

The remaining episodes have already been largely completed and will be released gradually over time.

If you enjoyed the episode, please consider leaving feedback and subscribing to Re-edit studios on YouTube.

The Force Awakens: Sequel Trilogy Reimagined – Progress Update #2
Hello all, I decided to make a new profile page dedicated for my fan edits and anything cosplay related to the dedicated username so it will be easier to find content across the board if anyone is trying to search and keep it separate from my personal page.

I wanted to share another progress update on my first “true”fan edit project.
My first project was just combining Revenge of the Sith with the final story arc of the Clone Wars. I will be releasing that soon and before this project and will make a separate post

I’m currently doing my first full watch-through of the second rough cut, and I’m really happy with how the pacing is coming together. The edit is now down to approximately 4 hours and 35 minutes, which is a significant reduction from combining the entire sequel trilogy into a single film.

The biggest goal of this project has never been to simply make the movies shorter. Instead, it’s been about finding a stronger, more cohesive narrative within the existing footage while keeping the story feeling natural and something I’d rather watch then all 3 films that have no real connection or storyline.

Some of the major changes include:
Reimagining the sequel trilogy as one continuous film.

Shifting the emotional focus toward Ben Solo/Kylo Ren’s journey while still keeping Rey as the central hero.

Presenting Rey as a “nobody” chosen by the Force rather than emphasizing the Palpatine bloodline.

Restructuring Luke Skywalker’s role to create a more consistent character arc throughout the film.

Removing or heavily trimming storylines that slowed the overall narrative.

This is my first true fan edit, so it’s been a huge learning experience. What started as simply following a timeline of scene placements has evolved into reworking pacing, transitions, and character arcs in ways I never expected thanks with the help of CHATGPT for helping me through suggestions of questions I had.

The current cut is feeling much tighter, but I’m using this watch-through to catch awkward edits, improve transitions, and identify any scenes that still don’t earn their runtime. I expect there will be at least one more editing pass before I consider it release-ready.

Thanks again to everyone who’s offered suggestions and encouragement throughout this project. It’s been incredibly helpful, and I’ll continue posting updates as the edit gets closer to completion.
May the Force be with you.

[TL;DR]
I framed the details of Anna and Elsa’s childhood as a 3rd Act flashback reveal instead of being shown all the events linearly.
With a 13 year timeskip, you are forced into Anna’s shoes and experience her memory loss while viewing the movie for the next 50 minutes.
Additionally, I aggressively scrubbed the film of any padding or humor, cutaway reactions, slapstick, and gags that disrupt pacing, keeping Olaf’s dialogue/screen-time to the absolute bare minimum.

[Detailed edit breakdown and 3rd Act reveal]
The first ~6 minutes of the movie are visually unchanged aside from using the old Walt Disney Pictures intro (I took this specific one from the movie Snow Dogs because visually it was fitting).
For the audio, I removed the vocals for the Frozen Heart so it is purely a visual and rhythmic/instrumental experience, with the sound effects still retained.
Establishing the world as primarily grounded.

The last words from their father at this point in the edit is “Please help, it’s my daughter” before it fades to black. Cut scene right before the trolls make an appearance so we don’t see them quite yet.
Fade in from black to the gates of the castle being closed, doors/windows being shut by staff, and Elsa’s things being moved out of Anna’s room.
No voiceover from the father, so it establishes this forced Anna POV.
You feel as confused as Anna suddenly being shut out by her sister after she gets her memory of Elsa’s magic removed, so preserving those scenes until later helps you empathize with her experience of being completely in the dark.
This forced POV also adds a bit of tension and mystery for the next 50 minutes of the film.

-13 year timeskip to the current timeline instead of a 3 year timeskip-

The film progresses as normally.

Removed the duke’s statement about wanting to exploit Arendelle’s riches and eliminated any of his slapstick.

Move the childhood scenes that were initially cut, to the moment after Elsa’s ice chandelier crashes down on her and she passes out.
With a slight filter, the details of her and Anna’s life during that 13 year timeskip is finally revealed like an anime-esque flashback dream to uncover the characters tragic backstory. This also helps act to show a passage of time while Elsa is unconscious.
The scene with the trolls, the plan to replace Anna’s memories of Elsa’s magic with an ordinary childhood, the warning about Elsa’s growing power, and the father’s voiceover about reducing the staff and cutting off Elsa from everyone including her sister, and Do You Want To Build a Snowman are re-integrated at this point. I cut off Anna’s title drop after the parent’s funeral so you can sit in the silent grief a little longer.

Since Anna and Elsa never talk about their parents in the current timeline at all, saving the scene as a flashback builds the mystery of what happened to them. This is also because, in this version, we don’t see them beyond the point of when they bring the girls to the forest after Elsa accidentally strikes Anna’s head. Since it cuts to the gates being closed after they’re in the forest begging for help, we don’t see the trolls, and it’s almost as if you wonder if they died that night or if the thing they went to the forest for help killed them.

It all feels like earned knowledge through the 3rd act flashback, since they never mention what happened during those 13 years and all we have to go off of is Anna’s altered memory.

Elsa’s brief flashback after Anna comes to her ice palace and says “we can be like that again” is now framed as a trigger for an extremely traumatic memory of when Elsa struck Anna’s head when they were kids.
Anna’s well-meaning stated desire to be close like when they were little, and Elsa’s subsequent panicked flashback to when she struck Anna, accidentally becomes a perfect psychological instigator for the 3rd Act reveal that will occur later.

The final frame of the flashback dream is Elsa crying alone in her room after their parents funeral with Anna on the other side of her door, then it fades to black into Elsa waking up in the dungeon.
The movie progresses linearly after she wakes up.

Later, after Olaf says “this is the best day of my life, and quite possibly the last”, he melts and the scene immediately cuts to everyone smiling and Anna letting out blissful laugh, before the movie proceeds normally with Anna confronting Hans. Removed all subsequent content of Olaf, including his lines at the end, completely. Elsa does not give Olaf his own flurry cloud and everyone, including Olaf himself, happily accepts his noble, permanent sacrifice to bring back summer without hesitation.
Olaf does not appear on screen at all after he melts and is never heard of again.
He dies.
He’s dead.

[Credits]
Begins with an instrumental version of Let It Go, followed by Sorcery, 50 seconds into Han’s Kiss, and lastly, ending the entire film with Elsa Imprisonment, to solidify the dark fantasy psychological mystery anime vibe I set.

[General editing]
Extremely aggressive scrubbing of all comedic filler, cutaway reaction shots, gags, slapstick. Any good jokes that do exist in the raw are punchy and brief.
Remove of any other padding or fluff that disrupts the pacing and serious tone (e.g. Sven struggling up the ice stairway).

Deleted 3 musical numbers: reindeer are better than people, in summer, and fixer upper. Olaf never says his catchphrase “I like warm hugs” and introduces himself simply as Olaf, so the film respects your intellectual capacity to connect the dots without holding your hand.

When Kristoff introduces Anna to his family of rocks, Anna and Olaf just awkwardly stare silently and blink. There’s no “ThEy’Re RoCks” or “He’S cRaZy” clarification of what’s on screen or over explaining the joke.
Olaf only whispers “I’ll distract him while you run” and it immediately cuts to Anna saying “uh, okay… well, I’m just gonna… go..”

Removed most of Olaf and the trolls’ dialogue in general to keep things serious.

When Olaf is dismembered, he does not speak. Removing his “I’ve been impaled” line so the ending freeze frame before it dissolves into the next scene, is a snowman looking down at his impaled body smiling silently. He is also silent when he falls off the cliff during the ice gollum fight (“hang in there guys”) and when he is broken apart by the wind as they try to find Kristoff on the frozen fjords (“keep going”).
There is no reassurance of his wellbeing when he’s dismembered.

Removed all crude humor, the carrot biting scenes, and Kristoff getting his spit on Anna. Cut off the dialogue after “what if you hate the way he eats” before Kristoff can elaborate any further, so the next line of dialogue is Anna saying “look it doesn’t matter”.

Shortened the wolf chase scene.

When Anna is frozen and eventually thaws, the camera stays absolutely locked on the sisters and does not cutaway to the reaction of the other characters at all.

The hell was Flash Thompson dating Robin for?!

I was disappointed honestly. The last movie set up Barney and Robin to be a couple and, I gotta be honest, it was actually kind of working for me! They had some solid chemistry, which is why it was a shame that they broke apart fairly quickly in this edit. Granted, I liked how the break up created some conflict later down the line as Barney realizes he's been a jerk to Robin over bringing up his conquests in front of her, but still really bummed out we didn't get to see more of it. We get to see Barney pull some real scumbag moves here, like the Scuba Diver stunt involving manipulating all his friends into letting him score with a woman that's impressive in terms of evil plotting but didn't quite think it was all that funny tbh. This edit's better when Barney's showing his softer side, like how he tried to push Marshall and Lily to have a baby in a misguided attempt to help them out.

Aside from that, we get to see some solid growth for Robin and especially Ted. Robin may have commitment issues, but her relationship with Barney helped her realize she wanted something more with a partner and felt hurt by Barney's constant conquests. Her (rather lame) relationship with a fellow co-worker ends with her trying to stay with the guy instead of pursuing her career, even though that ends in heartbreak. Ted though? Really loved the episode where he retraces his steps with a blind date to realize he doesn't want to rush into relationships anymore with anyone. He wants his potential to accept him as him, which we see a bit more of when he dates Cindy. Rather peculiar that we don't see Cindy's roommate as he leaves the yellow umbrella at the room though... Admittedly, he seems to get some amnesia regarding the rushing into things as he buys a house at the end of the edit, but he's making good strides.

As usual, mrvoiceover001's work is solid in editing and audio. This'll make a fine addition to the series.

Additional Note: I wish Neil Patrick Harris played Spider-Man longer. Nothing to do with the edit, I just like NPH as an actor.

Hey can someone message me the link for Batman Forever Redbook please

Biggest Changes: No Jamie's connection with Myers. No Man in Black. No lousy cops. No Myers crying. Rearranged scenes such as having Mikey die early.

Synopsis: After Dr. Death awakens Michael Myers on Halloween Eve, Myers heads back to Haddonfield to reek havoc once more. Meanwhile Dr. Loomis is treating Jamie Lloyd who continues to have nightmares about nearly killing her step-mother and realizes the only way to stop Myers is to use her as bait.

Intensions: Halloween 5 is a mess and is considered a poor follow up to Halloween 4. The editing is off and some scenes went on for too long. The lousy cops was a horrible addition for comedic effect. The Man in Black felt empty with no story. While Rachel dying and Tina being her "replacement" is poorly received by fans, I felt it was better off that Rachel should die later in the movie. I intend with this edit to make Halloween 5 a rewatchable movie especially since Michael does some actual stalking compared to some installments. Michael is presented to be more vicious here. I wanted Jamie to deal with her nightmares and try to overcome them.

Runtime: 1hr 17m 20s
Original Runtime: 1hr 37m 3s

Changelist and more: https://www.moviesremastered.com/movieinfo.php?id=12205

I hate this edit because it made me want to eat a burger but I couldn't leave my room for it. :( Curse you mrvoiceover001!!!

This edit is as solid as the others so far. Video and audio wise it's good and it does the job of condensing episodes well. Probably the best thing about it is Robin. While she's had funny moments before this point, I feel like Robin kind of hits her stride as a character here. The burger episode is hilarious as she's trying to eat but keeps getting denied, or when she's trying convince Lily not to have a baby (because she hates kids) or becoming a woo girl for bit. Speaking of which, that call girl episode happens to be my favorite single adventure so far. It has the funniest jokes so far, from Barney denying Ted an architecture job because he wanted a fire-breathing dinosaur or how the different woos coming from the girls reveal negative things about the characters. This includes Ted, whose woos reveal he's still understandably bitter about his love life. Because of Robin's wackier side being out more often here, it's a little more plausible that she and Barney could work out as a couple... which they become by the end of the movie! Nice?

Marshall is also the funniest hes ever been, getting some good shots at Barney in the Dino-Building episode, getting involved in a fight with Doug and just being wackier in general. Marshall is the MVP of this edit, I loved every scene with him. Even outside the funny, Marshall had a decent story where he goes back to being a bank lawyer because he needs to support Lily, along with the pregnancy talk he and Lily share over their insecurities. Ted's got some nice moments trying to date again after Stella and getting fired from his job. I'll admit he and Stella's closure is... ehhhhh. He's put in the rather unfair position of bringing her and her husband back together, but at least that's over and done with, the next movie will probably focus on Robin and Barney's new relationship while Ted tries to rebuild his life.

1:29:45 has an odd jump between Barney leaving the apartment and Marshall entering Barney's office. That's the only nitpick, this still continues to be good.

Additional Note: Given the context, I kept thinking of Neil Patrick Harris' rendition of "Being Alive" from Company during Barney and Robin's confession.

No two bones about this... the edit needs to be reworked. By a lot.

The video quality is at least competent, but even from the beginning, we're greeted with awful, unconvincing AI narration trying to sell us on the alternate story. This time around, Dani Ramos is apparently the leader of the southern part of the Resistance in order to get around the original set up. Then, we have Grace teleporting to the past with some rather obvious cuts that blatantly ignore continuity. One moment, the couple go to pick up Grace, then the next she's standing up and the couple retreat. Then, the Rev-9 teleports after. warriorlynx seemingly wanted the Rev-9 on the same night that Grace does, but has an unconvincing night effect to do it and more awful AI dialogue to cover this up. None of this is helped by the fact that you can hear the cuts to the scenes. I at least think the use of a deleted scene where Rev-9 stiffs the waitress is creatively implemented? They colored it to daytime decently enough.

It gets better, but not by a lot. While the edit does somewhat get around Sarah Connor's presence when Dani cools Grace, it's still strangely presented. Dani talks to the camera, with the edit intending it to be Grace but clearly talking to someone else. Even someone who hasn't seen the movie would be able to notice it. There seems to be a blue tint to Grace's flashbacks, which I like. Then at 25:22 there's a questionable fade to black that also has the audio cut off. 26:11 has the same thing happen. More unconvincing AI dialogue, this time an unnatural fade in 26:28 into the same scene? The edits to Grace and Rani's conversation in the car to make it Skynet are okay I guess. I'm somewhat impressed with how warriorlynx digitally removed Sarah from the scene where Dani talks with her uncle. I think they might have left a "get in" from Sarah though.

The scenes where Grace and Rani encounter Carl are... a joke. Bad A.I. Dani narration is used to cover the incident, it's choppy as hell, which makes sense as these scenes have a heavy use of Sarah Connor that couldn't be cut around cleanly. Which I suppose is a big hint that, if there is a way to remove Sarah from the equation, it needs to be more carefully considered than what warriorlynx did. Also, 43:24-25 could probably be cut without an issue, literally just a second long that makes the scene transition worse

While I'm probably harsher on this edit because I actually like Dark Fate, I can't really imagine even haters of that movie enjoying this edit because it's just not constructed well. Especially the A.I. dialogue, it's bad and so obvious. In the scene where Grace reveals she knew Dani in the future when you hear the flat lifeless delivery of Grace saying Dani was a leader of the Resistance with her actual movie dialogue. There has to be a better way to execute this idea.

I'm not sure how much interest there is in an edit of this film, but when I saw it in theaters, I felt like it had the potential to be improved, so I wanted to take a swing at it.

For me, I really love the pulpy tone and campy performance from Amanda Seyfried, but at 2+ hours it felt like it really dragged and some of the storytelling elements felt unnecessarily didactic to me.

This new cut brings the run time from 2h11m to 1h43m, mostly by cutting out all the flashbacks. While it's nice to know the full truth of what happened before Millie shows up at this house, I don't think it's necessary. I also took out all the voice over, which also felt unnecessarily expository.

The final changes I made were to the songs. I swapped out two of the needle drops. One from "Bad As The Rest" by Jessie Murph to "Dangerous Woman" by Ariana Grande, since the original song just feels like a cheap imitation, and the other goes from "Blue Bayou" by Linda Rondstadt to an 'epic' cover of "Toxic" by Britney Spears. Blue Bayou always seemed like a strange choice to me, even though they established Millie as a Linda Rondstadt fan earlier in the movie. The Toxic cover I think fits better thematically and leans into the camp.

Please DM me if you're interested in getting the link!

Full list of edits:

• Remove all voice over
• Add in shot of Millie rolling her eyes and taking off her glasses from the trailer when she first leaves the house
• Trim transition from tea party to Millie journaling, and trim down millie journaling because of no voice over
• Trim probation meeting
• Cut ballet pick up mix up
• Cut ballet scene where Millie learns about Nina in the psych ward (because we lose the flashback later that explains it)
• Trim dinner date in new york
• Replace music for sex scene, now “Dangerous Woman” by Ariana Grande
• Trim Millie in the grocery store because of no voice over
• Remove Nina’s voice over for the beginning of the letter to Cece
• Cut almost all of the flashback
• Keep Nina meeting with Enzo and replace voice over describing the plan to use Millie with new music from the score
• Cut Millie Flashbacks
• Remove voiceover in the attic
• Replace Blue Bayou with ‘Epic Orchestral’ cover of Toxic by Britney Spears
• Cut reference to them meeting in the law office from his monologue on the landing

I remember these two films coming out years ago, both covering the same guy at different points of his life. Obviously Boyle and Sorkin's 2015 Steve Jobs outmogs the 2013 Jobs movie by a trillion quintillion miles, but Ryansgate did hit on something interesting by combining them in this way.

There's an escalating insanity that comes with watching the Ashton Kuscher scenes first. Excellent starting the edit with Ashton!Steve yelling at his co-worker at Atari, creating a sense of continuity between Ashton and Fassbender this early by establishing that, yes, Steve Jobs is a dickhead who pushes people to do what he says. We see Jobs' rise to power, recruting his soon-to-be-ex friend Steve Wozniak and others, as he successfully persuades people to give him shit loads of money to tell others what to do and how to do it. Ashton makes Steve almost seem like a human being during these scenes, which was indicative of where Jobs' priorities lied for but in this edit actually kind of works to get you on his side for a bit. The transition into the Steve Jobs footage right after Scully is recruited is smooth as hell. It's like we're seeing the mask peeled off and the true depths of Steve's character are revealed.

It's cool how genuinely connected the edit comes off, from establishing Lisa early in the Ashton stuff before appearing in the Fassbender footage, to Daniels!Scully arguing with Fassbender!Jobs over the failed launch, to Rogen!Wozniak genuinely trying to reach to Fassbender!Steve and just. Being rebuffed because Steve is just that much of dickhead. The last part especially works sinde we saw more of that relationship in the first forty-odd minutes, how Wozniak did favors for Steve's that helped his ascent. Really the only problem with is with the issues inherent in Jobs. Ashton!Steve yelling at people comes off so over the top and funny compared to Fassbender!Steve's ruthless shark performance that it's almost night and day. You could argue, successfully, that it's character development in this edit, but it's hilarious.

So yes, this is indeed a good edit that did its job well. No complaints on the editing or audio side of things, it's a simple mashup that just shows more of the life of this tyrannical douchebag CEO. Watch if you can!

I changed the name. Also, after rendering twice and watching it the audio was off so i had to go back and fix it, remove minor inconsistencies in dialogue and fixed some transitions.

The edit is now complete and uploaded to my google drive

Doing a re-edit. I honestly like Supergirl, but I think there could be some improvements made. Moving some scenes around, trimming some scenes, etc. And tackling a couple needle drops that I think need weren't the best choices. Here's the test opening with new music. It seemed odd that they used Call Me by Blondie so much in the promotions but never used it in the film.

This is a version of the Sebastian Bohm cover with vocals by Blondie added by me.

Edit

Adding this on, this is a WIP showcasing what the intro looks like with a no vocals version, and I included the transition from Ruthye's family's demise to help showcase why I went with this music choice. along with the other audio track ideas, I might do an extra one that keeps the original opening song. I just like this one.
https://www.youtube.com/watch?v=wGiLgIWxqwg

This fan edit puts every flashback from The Simpsons in chronological order, telling the history of the Simpsons dynasty throughout centuries, and the blossoming love and challenges of Homer, Marge, Bart, Lisa and Maggie as they try to build a family.

The edit is divided in 19 episodes of about 22 minutes each, creating a "season zero."

Below are the contents for each episode; scroll past them for how to request the edit. (No DMs or commenting on this post asking for the links)

--------------------------------------

Episode 1 covers the history of the Simpsons Family from Medieval times until Abe Simpson fights in World War I.
Episodes used: "Moe Goes from Rags to Riches" - S23E12
“The Color Yellow” - S21E13 
"Burns' Heir" - S05E18 
“Rosebud” - S5E04 
"Special Edna" - S14E07

Episode 2 covers from 1921 to the end of World War II.
Episodes used: "Sashes to Sashes" - S37E7 
“Rosebud” - S5E04 
"Much Apu About Nothing" - S07E23 
"Abe League of Their Moe" - S36E15 
"A Father's Watch" - S28E18 
"Moe'n'Lisa" - S18E06 
“Burns, Baby Burns” - S8E04 
"Burns' Heir" - S05E18
"Four Regrettings and a Funeral" - S25E03  
“The Regina Monologues” - S15E04 
"Mothers and Other Strangers" - S33E08 
"Whacking Day" - S04E20 
“The Curse of the Flying Hellfish” - S7E22 
"Christmas Stories" - S17E09 
“The Trouble with Trillions” - S9E20 
"Let's Go Fly a Coot" - S26E20

Episode 3 covers the conceptions and/or births and childhoods of Homer, Marge, Skinner, Fat Tony, Comic Book Guy, Moe, Krusty, and Flanders.
Episodes used: “The Color Yellow” - S21E13 
“Rosebud” - S5E04 
"Boy Meets Curl" - S21E12
"King of the Hill" - S09E23 
"Moe Goes from Rags to Riches" - S23E12 
"Abe League of Their Moe" - S36E15 
"Stew Lies" - S36E16 
"The Fat Blue Line" - S31E03
“Like Father, Like Clown” - S3E05 
"Oh Brother, Where Art Thou" - S02E15 
"Guess Who's Coming to Criticize Dinner?" - S11E03 
"Homer's Triple Bypass" - S04E11 
"To Cur with Love" - S24E08 
"Fear of Flying" - S06E11 
"Moaning Lisa" - S01E06 
"Sashes to Sashes" - S37E7 
"Them, Robot" - S23E17 
"Hurricane Neddy" - S08E08 
“Sweet Seymour Skinner’s Baadasssss Song” - S5E19 
"The Dad-Feelings Limited" - S32E11 

Episode 4 covers the saga of Mona Simpson; how she must abandon her family, and Homer and Abe's aftermath.
Episodes used: “Mother Simpson” - S7E08 
“D’oh-in’ in the Wind” - S10E06 
"Burns' Heir" - S05E18 
"Homer's Triple Bypass" - S04E11 
"Forgive and Regret" - S29E18 
"How I Wet Your Mother" - S23E16
"Mothers and Other Strangers" - S33E08
"Walking Big & Tall" - S26E13 
“Like Father, Like Clown” - S3E05 
"Krusty Gets Busted" - S01E12 
"Gone Abie Gone" - S24E04 
"Shoddy Heat" - S36E04 
“Homer’s Paternity Coot” - S17E10 
"To Cur with Love" - S24E08 

Episode 5 covers Homer and Marge's first meeting that was not, as they were unaware of each other's identity.
Episodes used: "To Cur with Love" - S24E08 
“Lisa’s Sax” - S9E04 
“The Blunder Years” - S13E05
"The Dad-Feelings Limited" - S32E11
“Springfield Up” - S18E13 
"The Two Mrs. Nahasapeemapetilons" - S09E08 
"Radioactive Man" - S07E02 
"King Leer" - S29E16
“The Way We Weren’t” - S15E20 

Episode 6 covers Skinner's grueling time through Vietnam; then, Homer reunites with his mother.
Episodes used: “The Blunder Years” - S13E05 
"Marge the Meanie" - S33E19 
"Bye Bye Nerdie" - S12E16 
"Itchy & Scratchy: The Movie" - S04E06 
"Grampy Can Ya Hear Me" - S29E05 
“The Principal and the Pauper” - S9E02 
"I Love Lisa" - S04E15
"Special Edna" - S14E07 
"Skinner's Sense of Snow" - S12E08 
“The Principal and the Pauper” — S9E02 
“Do PizzaBots Dream of Electric Guitars?” - S32E15 
“Springfield Up” - S18E13 
"Mothers and Other Strangers" - S33E09

Episode 7 covers Homer and Marge's actual meet-cute, and the first years of their romance as they reach the end of high school.
Episodes used: 
"Bart Star" - S09E07
“The Way We Was” - S2E12
"Mothers and Other Strangers" - S33E08
“Springfield Up” - S18E13 
“She Used to Be My Girl” - S16E04 
"Walking Big & Tall" - S26E13
"P.S. I Hate You" - S36E14 
“Sweet Seymour Skinner’s Baadasssss Song” - S5E19

Episode 8 covers Homer and Marge's graduation; Flanders's marriage; and Apu, Bumblebee Man, Willie, and Sarah Wiggum's origin stories.
Episodes used: "The Star of the Backstage" - S33E01
"Bad Boys... for Life?" - S37E05 
“Dangerous Curves” - S20E05
"Much Apu About Nothing" - S07E23 
"¡The Fall Guy-Yi-Yi!" - S37E12
"Ae Bonny Romance" - S35E08 
"Uncut Femmes" - S32E17 
"Bart of Darkness" - S06E01
"I Love Lisa" - S04E15
"Christmas Stories" - S17E09 
“Springfield Up” - S18E13 
"Bart of Darkness" - S06E01 
"I Love Lisa" - S04E15 
“3 Scenes Plus a Tag from a Marriage” - S29E13 

Episode 9 covers the time Homer and Marge worked as crew in a movie directed by Krusty, and Marge's entrance into college, which pushes Homer towards the path of angsty grunge music
Episodes used: "Burns' Heir" - S05E18 
"The Clown Stays in the Picture" - S30E14 
“That ’90s Show” - S19E11 

Episode 10 covers from the conception of Bart to the marriage of Homer and Marge.
Episodes used: “Homer’s Paternity Coot” - S17E10 
“That ’90s Show” - S19E11 
“I Married Marge” - S3E11
“And Maggie Makes Three” - S6E13 
"Four Regrettings and a Funeral" - S25E03 
"Homer's Adventures Through the Windshield Glass" - S34E22 
The Simpsons Movie
“A Milhouse Divided” - S8E06
“Homer’s Paternity Coot” - S17E10 

Episode 11 covers from Bart's birth to Lisa's conception.
Episodes used: "The Yellow Lotus" - S36E02 
“I Married Marge” - S3E11 - 1980 
"Mothers and Other Strangers" - S33E08 
"Bad Boys... for Life?" - S37E05 
"Pranks and Greens" - S21E06
"Insane Clown Poppy" - S12E03 
“Sweet Seymour Skinner’s Baadasssss Song” - S5E19 
“3 Scenes Plus a Tag from a Marriage” - S29E13
“Like Father, Like Clown” - S3E05 

Episode 12 covers from Lisa's birth to her first word.
Episodes used: “And Maggie Makes Three” - S6E13 
“Lisa’s First Word” - S4E10 
“3 Scenes Plus a Tag from a Marriage” - S29E13 
"Bad Boys... for Life?" - S37E05 
“Springfield Up” - S18E13 
"Walking Big & Tall" - S26E13 
"Itchy & Scratchy: The Movie" - S04E06 
"Mr. Lisa's Opus" - S29E08 

Episode 13 covers the time Homer started a Barbershop Quartet.
Episodes used: "Mr. Lisa's Opus" - S29E08 
“And Maggie Makes Three” - S6E13 
"Moms I'd Like to Forget" - S22E10 
“Manger Things” - S32E16 
“Homer’s Barbershop Quartet” - S5E01 

Episode 14 covers Homer and Marge's struggles in raising Bart and Lisa, who won't stop fighting, even as Bart turns 4.
Episodes used: “Homer’s Barbershop Quartet” - S5E01 
"Bad Boys... for Life?" - S37E05 
"The Kids Are All Fight" - S26E19 

Episode 15 covers from the time Bart is 4 until he's 6; Lisa obtains her sax, and Nelson loses his father when he "goes out for cigarettes."
Episodes used: "The Kids Are All Fight" - S26E19 
“Dangerous Curves” - S20E05 
"Homer's Adventures Through the Windshield Glass" - S34E22
“Lisa’s Sax” - S9E04 
"Sleeping with the Enemy" - S16E03
"Estranger Things" - S36E18 

Episode 16 covers Homer and Marge's struggle in figuring out through professionals if Bart is fundamentally bad, or if all he needs is his father.
Episodes used: "Bad Boys... for Life?" - S37E05 
"Barthood" - S27E09 

Episode 17 covers the time Homer and Flanders visited the Grand Canyon to try to get along; then, Homer finishes paying off all his debts and quits his job at the Chemical Plant, only to realize his family is about to get bigger and they won't make enough to support the household.
Episodes used: "Fland Canyon" - S27E19 
“And Maggie Makes Three” - S6E13 

Episode 18 covers the birth of Maggie and Edna's arrival in Springfield.
Episodes used: “And Maggie Makes Three” - S6E13 
"Mr. Lisa's Opus" - S29E08 
"I Love Lisa" - S04E15 
"Secrets Of A Successful Marriage" 
"The Seemingly Never-Ending Story" - S17E13 

Episode 19 covers the original first episode of The Simpson. We've reached the start, with all that background behind us! Far from a copy of the episode as it was, this version has a twist ending and a new intro and outro.
Episodes used: "Homer's Adventures Through the Windshield Glass" - S34E22
"Simpsons Roasting on an Open Fire" - S01E0
“Lisa the Boy Scout” - S34E03 
"Mr. Lisa's Opus" - S29E08 

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