[spb_column width="1/1" el_position="first last"] [spb_text_block pb_margin_bottom="no" pb_border_bottom="no" width="1/1" el_position="first last"]   By, Jacob Krueger [/spb_text_block] [/spb_column] [fullwidth_text alt_background="none" width="1/1" el_position="first last"]  Spider-Man Homecoming: How To Write a Great Antagonist   Hello, I am Jacob Krueger and this is The Write Your Screenplay Podcast. On this podcast, rather than looking at movies in terms of “two thumbs up, two thumbs down, loved it or hated it,” we look at them in terms of what we can learn from them as screenwriters. We look at good movies and bad movies, movies that we loved and movies that we hated.   This week, we are going to be talking about Spider-Man: Homecoming which is a surprisingly successful film compared to the others in this franchise. And what is nice is that this film doesn’t just succeed based on its fabulous action sequences or the wonderful actors involved in the production. This movie also succeeds because of its script.   So, let’s talk about what makes this script so darn successful. And to do that we have to begin with a discussion about Antagonists. How do you write a great Antagonist?   If you’ve studied screenwriting with me, you know that I don’t actually like the word Antagonist. The reason I don’t like the word Antagonist is because it suggests something that isn't true in the universe: the idea that there is supposed to be a character in your screenplay that exists only to antagonize the main character.       Whenever I am thinking about film, I like to look at my life and think, “Okay, if it happens in my life, it can happen in a movie. And if it doesn’t happen in my life it can’t happen in a movie.”   And that doesn’t mean that my movies all have to be naturalistic films, Spider-Man: Homecoming certainly isn't a naturalistic film in any way and it is hugely successful.   What it means is that emotionally it needs to be true-- it means that what happens in the movie needs to grow out of an exaggeration of, or a reaction to, or a metaphor for, or an expression of something that is true about the universe.   Because, once we get into the world where we aren’t writing an expression of something that is true about our universe-- once we are in that kind of fiction, the fiction that doesn’t come out of our life experience-- it is only natural that our movies are going to ring false.   And if you’ve seen some of the other films in the Spider-Man franchise, and other big budget action movie franchise films, you can feel the effects of that untruth, when the events of the story and the reality—the emotional reality-- of life stop matching up.   Despite all of its wild, high-stakes action and magic, what really makes Spider-Man: Homecoming succeed is its more grounded elements. Even its title, Spider-Man: Homecoming, is a pun that recognizes this truth on many levels.   In part, it is about Peter Parker returning home after his foray with the Avengers and trying to go back to a real life.   In a nudge-nudge, wink-wink way, it’s about a Homecoming for Spider-Man, back to his Marvel universe roots after his lonely sojourn with Sony.   But it is also a movie about the homecoming dance which is really the most important thing in Spider-Man’s real world life at this time.   It takes a lot of courage as a writer to write an action movie that is really set around a homecoming dance. It takes a lot of courage as a writer to realize that the real source of the story isn't going to grow from the big, larger than life relationships, but from the mundane ones—the ones that look like our own lives. So, how does this relate to Antagonists?   I don’t like the word antagonist because antagonist makes us think that there is someone whose job is to antagonize you.   And if I look at my own life,