- (Michael)  
- (Michael)  

What’s up, Wisecrack? Michael here to talk about  a brilliant film that captivated fans, wooed the  
What’s up, Wisecrack? Michael here to talk about  a brilliant film that captivated fans, wooed the  

critics and pissed off no one. Just kidding. I  mean the live-action film, The Last Airbender.  
critics and pissed off no one. Just kidding. I  mean the live-action film, The Last Airbender.  

Based on the very popular, very good Nickelodeon  show, Avatar, this film seemingly had everything  
Based on the very popular, very good Nickelodeon  show, Avatar, this film seemingly had everything  

going for it: great characters, a compelling  story, and of course, live-action fire bending.  
going for it: great characters, a compelling  story, and of course, live-action fire bending.  

    So why is this  
    So why is this  

film more cringe-inducing than having your  blood bent? How does the guys who did this:
film more cringe-inducing than having your  blood bent? How does the guys who did this:

- I see dead people.
- I see dead people.

- (Michael) Royally screw up source  material as truly great as Avatar?  
- (Michael) Royally screw up source  material as truly great as Avatar?  

Anytime a movie confounds our expectations like  this, we’re forced to pull out our detective’s  
Anytime a movie confounds our expectations like  this, we’re forced to pull out our detective’s  

pipe and start puffing until we either get  cancer or figure out: What the hell happened?
pipe and start puffing until we either get  cancer or figure out: What the hell happened?

- (Sokka) Special outfit, hat and pipe,  do these things mean anything to you?
- (Sokka) Special outfit, hat and pipe,  do these things mean anything to you?

- (Michael) And so welcome to this  Wisecrack Edition on The Last Airbender:  
- (Michael) And so welcome to this  Wisecrack Edition on The Last Airbender:  

What Went Wrong? And of course, spoilers  ahead for a bad movie and a good show.
What Went Wrong? And of course, spoilers  ahead for a bad movie and a good show.

- (Michael) Let's do a quick recap. The film,  like the tv show that inspired it,  introduces  
- (Michael) Let's do a quick recap. The film,  like the tv show that inspired it,  introduces  

us to siblings Sokka and Katara, two water  tribe youngsters whose dad’s off warring  
us to siblings Sokka and Katara, two water  tribe youngsters whose dad’s off warring  

against the evil Fire nation. While hunting,  they stumble upon a bald kid frozen in ice.  
against the evil Fire nation. While hunting,  they stumble upon a bald kid frozen in ice.  

Instead of running away screaming, they  take him under their wing. Then, MIC DROP:  
Instead of running away screaming, they  take him under their wing. Then, MIC DROP:  

It turns out he’s the avatar, a messiah figure  who has the ability to bend all four elements.  
It turns out he’s the avatar, a messiah figure  who has the ability to bend all four elements.  

Normie-benders like Katara can only do one. Lost  for a century, this ice-kid Aang is responsible  
Normie-benders like Katara can only do one. Lost  for a century, this ice-kid Aang is responsible  

for keeping the four kingdoms in harmony.  But first he’s gotta learn how to bend all  
for keeping the four kingdoms in harmony.  But first he’s gotta learn how to bend all  

the elements. Katara, Sokka and Aang set off on  a journey to help the young avatar master his  
the elements. Katara, Sokka and Aang set off on  a journey to help the young avatar master his  

powers while also fending off the Fire nation.  Simultaneously, the very moody disgraced Fire  
powers while also fending off the Fire nation.  Simultaneously, the very moody disgraced Fire  

prince Zuko hatches a plan : He wants to capture  Aang like some sick trophy, thus restoring his  
prince Zuko hatches a plan : He wants to capture  Aang like some sick trophy, thus restoring his  

reputation and winning back his father’s love,   at which point he will presumably stop sulking.
reputation and winning back his father’s love,   at which point he will presumably stop sulking.

Now quick caveat: there are a lot of  things wrong with The Last Airbender.  
Now quick caveat: there are a lot of  things wrong with The Last Airbender.  

For one, the characters are almost systematically  stripped of their endearing qualities - Sokka’s  
For one, the characters are almost systematically  stripped of their endearing qualities - Sokka’s  

sense of humor is gone, and Aang’s carefree  sense of fun is undetectable. What’s more,  
sense of humor is gone, and Aang’s carefree  sense of fun is undetectable. What’s more,  

the stakes are never made urgent or clear  enough and Aang never really struggles to  
the stakes are never made urgent or clear  enough and Aang never really struggles to  

beat his opponents. And importantly: Aang’s  character arc is murky at best. On the show,  
beat his opponents. And importantly: Aang’s  character arc is murky at best. On the show,  

he struggles quite compellingly with guilt  about the death of his people and anxiety  
he struggles quite compellingly with guilt  about the death of his people and anxiety  

about the demands of his title that culminates  in visible character growth. In the movie,  
about the demands of his title that culminates  in visible character growth. In the movie,  

his arc doesn’t unfold with the same clarity and  resonance  - there kind of just isn’t time. Then  
his arc doesn’t unfold with the same clarity and  resonance  - there kind of just isn’t time. Then  

there’s the fact that show makes a point to show a  rich world with all kinds of cultures and peoples,  
there’s the fact that show makes a point to show a  rich world with all kinds of cultures and peoples,  

whether it’s the influence of Southeast Asia  seen in the Fire Nation, inuit cultures in  
whether it’s the influence of Southeast Asia  seen in the Fire Nation, inuit cultures in  

the Water Nation, Buddhism in the air benders,  or even these florida-inspired swamp people:
the Water Nation, Buddhism in the air benders,  or even these florida-inspired swamp people:

- You want me to eat Old Slim?  He's like a member of the family.
- You want me to eat Old Slim?  He's like a member of the family.

- (Michael) The richness of each culture depicted  is a big part of what fans loved about the show.  
- (Michael) The richness of each culture depicted  is a big part of what fans loved about the show.  

The movie, on the other hand, casts  its protagonists in such a way as  
The movie, on the other hand, casts  its protagonists in such a way as  

to make the central conflict  look kind of like a race war. 
to make the central conflict  look kind of like a race war. 

        Casting aside  
        Casting aside  

I think this film is actually a great lesson in  one of the central problems in any adaptation:  
I think this film is actually a great lesson in  one of the central problems in any adaptation:  

how do you shorten a lengthy book or television  series into the runtime of a movie and still  
how do you shorten a lengthy book or television  series into the runtime of a movie and still  

make something enjoyable? Obviously,  it’s been done, especially with books:  
make something enjoyable? Obviously,  it’s been done, especially with books:  

you don’t hear a lot of complaints about Jurassic  Park, Fight Club, or A Clockwork Orange. The Last  
you don’t hear a lot of complaints about Jurassic  Park, Fight Club, or A Clockwork Orange. The Last  

Airbender, in a somewhat Herculean adaptation   challenge, had to fit 9ish hours of television  
Airbender, in a somewhat Herculean adaptation   challenge, had to fit 9ish hours of television  

content into a feature film. To stay somewhat  faithful to the show, which it does in its own  
content into a feature film. To stay somewhat  faithful to the show, which it does in its own  

very flawed way, the film needs to function  like an abridged version, squeezing in the  
very flawed way, the film needs to function  like an abridged version, squeezing in the  

most important plot events so that it starts  and ends at approximately the same point. 
most important plot events so that it starts  and ends at approximately the same point. 

            Luckily there’s  
            Luckily there’s  

one screenwriting tool that will let you breeze  right through all the complicated information:  
one screenwriting tool that will let you breeze  right through all the complicated information:  

exposition. But it’s a dangerous tool, at best. In  storytelling, exposition is any information that  
exposition. But it’s a dangerous tool, at best. In  storytelling, exposition is any information that  

fleshes out the rules of the world, explains a  character’s motivations, and so on. If I kill you  
fleshes out the rules of the world, explains a  character’s motivations, and so on. If I kill you  

that’s an action. If I TELL you I want to kill you  because you murdered my father, that’s exposition.
that’s an action. If I TELL you I want to kill you  because you murdered my father, that’s exposition.

- My name is Inigo Montoya, you  killed my father, prepare to die.
- My name is Inigo Montoya, you  killed my father, prepare to die.

- (Michael) Sometimes exposition is  extremely memorable and very iconic
- (Michael) Sometimes exposition is  extremely memorable and very iconic

- I am your father.
- I am your father.

- (Michael) But more often than not, action is  more fun to watch. Flip through any decent book  
- (Michael) But more often than not, action is  more fun to watch. Flip through any decent book  

on screenwriting, and you’ll find a section  warning young writers that bad exposition has  
on screenwriting, and you’ll find a section  warning young writers that bad exposition has  

an apocalyptic effect on your career. Any  time a bad piece of dialogue makes you  
an apocalyptic effect on your career. Any  time a bad piece of dialogue makes you  

cringe because it sounds wooden, false, and  maybe a little embarrassing for the actor,  
cringe because it sounds wooden, false, and  maybe a little embarrassing for the actor,  

it’s often the result of  poorly-executed exposition.
it’s often the result of  poorly-executed exposition.

- You've never been stung by a bee, have you? - No 
- You've never been stung by a bee, have you? - No 

- Bees are genetically  designed to recognize royalty.
- Bees are genetically  designed to recognize royalty.

- (Michael) Of course, proper  exposition is a necessary evil  
- (Michael) Of course, proper  exposition is a necessary evil  

in  any narrative work. But there’s an  infinite number of ways to convey this  
in  any narrative work. But there’s an  infinite number of ways to convey this  

information. It takes a scene-long  montage to establish that, say,  
information. It takes a scene-long  montage to establish that, say,  

Rocky trained a lot to get in shape. It would  have taken 2 seconds to say “I worked out a bunch,  
Rocky trained a lot to get in shape. It would  have taken 2 seconds to say “I worked out a bunch,  

and now I’m in shape.” but the universe would  have been robbed of this glory. Exposition is  
and now I’m in shape.” but the universe would  have been robbed of this glory. Exposition is  

a struggle every screenwriter grapples with.  And sometimes it can really fucking work.
a struggle every screenwriter grapples with.  And sometimes it can really fucking work.

- I don't like sand.
- I don't like sand.

- (Michael) Just kidding, maybe more like this:
- (Michael) Just kidding, maybe more like this:

- But until that day, accept this justice  as a gift on my daughter's wedding day.
- But until that day, accept this justice  as a gift on my daughter's wedding day.

- (Michael) The Last Airbender  unfortunately has a lot more of the:
- (Michael) The Last Airbender  unfortunately has a lot more of the:

- They're eating here. And then they're  going to eat me! Oh my gooooooood!
- They're eating here. And then they're  going to eat me! Oh my gooooooood!

- (Michael) And less of the-
- (Michael) And less of the-

- You're a wizard Harry.
- You're a wizard Harry.

- (Michael) Now that we've looked at some  examples, let's see how Shyamalan does  
- (Michael) Now that we've looked at some  examples, let's see how Shyamalan does  

exactly what every screenwriting teacher  begs his novice students not to do.  
exactly what every screenwriting teacher  begs his novice students not to do.  

It’s TELLING instead of SHOWING.  Exposition TELLS us things:
It’s TELLING instead of SHOWING.  Exposition TELLS us things:

- Dad!  
- Dad!  

This is my father.
This is my father.

- (Michael) Characters’ actions SHOW us  things -- this boy running to embrace his  
- (Michael) Characters’ actions SHOW us  things -- this boy running to embrace his  

father communicates everything we need to  know WITHOUT that pointless introduction.  
father communicates everything we need to  know WITHOUT that pointless introduction.  

Bad movies, like this one, chronically *tell*  us things instead of *showing* them to us.
Bad movies, like this one, chronically *tell*  us things instead of *showing* them to us.

- In my raid of the great library earlier this year,  
- In my raid of the great library earlier this year,  

I found a scroll that tells the  location of the Ocean and Moon spirits.
I found a scroll that tells the  location of the Ocean and Moon spirits.

- (Michael) But why is exposition  such a narrative kick to the nuts?  
- (Michael) But why is exposition  such a narrative kick to the nuts?  

According to screenwriting guru John Yorke, the  problem is really simple:  “Most dramatic fiction  
According to screenwriting guru John Yorke, the  problem is really simple:  “Most dramatic fiction  

demands plausibility - for characters not to say  things they wouldn't say in real life. However,  
demands plausibility - for characters not to say  things they wouldn't say in real life. However,  

characters also need to impart essential  information for the audience's benefit.” That is,  
characters also need to impart essential  information for the audience's benefit.” That is,  

no believable character SAYS “Hello, brother to  whom I lent my nintendo switch last week. Wherever  
no believable character SAYS “Hello, brother to  whom I lent my nintendo switch last week. Wherever  

have you put it?” Instead, they’d probably  say “Yo, asshat, where’s my switch?” This,  
have you put it?” Instead, they’d probably  say “Yo, asshat, where’s my switch?” This,  

though a natural and reasonable reaction, could  leave the audience confused. As Yorke explains,  
though a natural and reasonable reaction, could  leave the audience confused. As Yorke explains,  

exposition can be “awkward to present  because it rarely occurs in real life.”  
exposition can be “awkward to present  because it rarely occurs in real life.”  

To bring it back to The Last  Airbender, nobody would actually say
To bring it back to The Last  Airbender, nobody would actually say

- (Sokka) The fire nation is here.
- (Sokka) The fire nation is here.

- (Michael) Instead, they’d grab the princess’s  hand and start running for their freaking lives.  
- (Michael) Instead, they’d grab the princess’s  hand and start running for their freaking lives.  

Examples like this are more  rampant in this film than  
Examples like this are more  rampant in this film than  

Covid-19 at the University of Alabama. Roll tide.
Covid-19 at the University of Alabama. Roll tide.

But first a quick caveat: The show Avatar,  
But first a quick caveat: The show Avatar,  

as amazing as it is, is not  innocent of all expository sins.
as amazing as it is, is not  innocent of all expository sins.

- (Zuko) The sages tell us that  the Avatar is the last airbender.  
- (Zuko) The sages tell us that  the Avatar is the last airbender.  

He must be over a hundred years old by now.  He's had a century to master the four elements.
He must be over a hundred years old by now.  He's had a century to master the four elements.

- (Michael) But we would never make a video  ranting about it. There are a few reasons why.  
- (Michael) But we would never make a video  ranting about it. There are a few reasons why.  

First, we’re talking about  an animated kids show that  
First, we’re talking about  an animated kids show that  

explicitly does not take itself very seriously.
explicitly does not take itself very seriously.

- My cabbages!
- My cabbages!

- (Michael) As a result, its expositional  statements come off as far less wooden,
- (Michael) As a result, its expositional  statements come off as far less wooden,

- (Sokka) It's rock and water mixed  together! It means our way out.
- (Sokka) It's rock and water mixed  together! It means our way out.

- (Michael) Aided by its hyper-expressive  animation style. The film, in contrast  
- (Michael) Aided by its hyper-expressive  animation style. The film, in contrast  

and perhaps out of necessity,  is just a lot more serious,  
and perhaps out of necessity,  is just a lot more serious,  

and it can’t get away with the same  child-like use of earnest exposition.
and it can’t get away with the same  child-like use of earnest exposition.

- (Aang) After all that time searching for a  teacher, I'm finally starting earth bending!
- (Aang) After all that time searching for a  teacher, I'm finally starting earth bending!

- (Michael) What’s more, the show  uses slightly-didactic exposition  
- (Michael) What’s more, the show  uses slightly-didactic exposition  

mostly in attempts to create a coherent  viewing experience and keep kids engaged  
mostly in attempts to create a coherent  viewing experience and keep kids engaged  

week after week ... even if they happened to  forget the whole deal with Zuko and his dad.
week after week ... even if they happened to  forget the whole deal with Zuko and his dad.

- (Iroh) Zuko had shown shameful weakness.  
- (Iroh) Zuko had shown shameful weakness.  

As punishment he was banished  and sent to capture the Avatar.
As punishment he was banished  and sent to capture the Avatar.

- (Michael) The movie, on the other hand,  
- (Michael) The movie, on the other hand,  

regularly repeats information as if  the audience is suffering from amnesia.
regularly repeats information as if  the audience is suffering from amnesia.

- (Katara) The fire lord's son.
- (Katara) The fire lord's son.

- (Michael) In our final defense of the show,  
- (Michael) In our final defense of the show,  

its expository elements tend to lean hard into  EMOTION and motivation. The TV show brilliantly  
its expository elements tend to lean hard into  EMOTION and motivation. The TV show brilliantly  

balances exposition with emotion -  information  is conveyed to characters during scenes filled  
balances exposition with emotion -  information  is conveyed to characters during scenes filled  

with conflict. Their reactions tend to  render the exposition almost invisible:
with conflict. Their reactions tend to  render the exposition almost invisible:

- (Zuko) You're the airbender? You're the Avatar? 
- (Zuko) You're the airbender? You're the Avatar? 

- (Katara) Aang? - (Sokka) No way
- (Katara) Aang? - (Sokka) No way

- (Michael) In contrast, the film’s  expositional sins come in two distinct flavors:  
- (Michael) In contrast, the film’s  expositional sins come in two distinct flavors:  

voiceover and on-screen dialogue.
voiceover and on-screen dialogue.

- He's the man for his time and  place. He fits right in there.  
- He's the man for his time and  place. He fits right in there.  

And that's The Dude.         
And that's The Dude.         

- (Michael) Voice over is the nuclear reactor  of screenwriting exposition. Used with care,  
- (Michael) Voice over is the nuclear reactor  of screenwriting exposition. Used with care,  

it can be incredibly effective and efficient. Used  incorrectly, it’ll blow up your entire script.
it can be incredibly effective and efficient. Used  incorrectly, it’ll blow up your entire script.

- Tiarella told me that Rachel  was special. No termination date.  
- Tiarella told me that Rachel  was special. No termination date.  

I didn't know how long we'd have together.
I didn't know how long we'd have together.

- (Michael) Screenwriting expert Hal Ackerman  warns that “Any time you use such a device  
- (Michael) Screenwriting expert Hal Ackerman  warns that “Any time you use such a device  

(voice-over, flashbacks), you are  calling attention to it as a device,  
(voice-over, flashbacks), you are  calling attention to it as a device,  

and (1) you had better use it effectively, and  (2) it had better be the best way of telling  
and (1) you had better use it effectively, and  (2) it had better be the best way of telling  

the story.” If that’s the case,  what is the  purpose of voiceover? According to Ackerman,  
the story.” If that’s the case,  what is the  purpose of voiceover? According to Ackerman,  

it serves like a portal  into the character’s psyche,  
it serves like a portal  into the character’s psyche,  

making us privy to their “inner thoughts”  which would otherwise be inaccessible. 
making us privy to their “inner thoughts”  which would otherwise be inaccessible. 

            Enter: Katara,  
            Enter: Katara,  

our narrator From the get go, the movie piggybacks  off of the tv show’s intro, which features her  
our narrator From the get go, the movie piggybacks  off of the tv show’s intro, which features her  

45 second, efficient narration that ends with  powerful emotional insight into her  character:
45 second, efficient narration that ends with  powerful emotional insight into her  character:

- (Katara) But I believe Aang can save the world
- (Katara) But I believe Aang can save the world

- (Michael) Movie-Katara is a little … less  economical. Let’s look at a sample line
- (Michael) Movie-Katara is a little … less  economical. Let’s look at a sample line

- (Katara) The scroll we had was proving  to be helpful. Aang was practicing -
- (Katara) The scroll we had was proving  to be helpful. Aang was practicing -

- (Michael) Oh wait, it keeps going?
- (Michael) Oh wait, it keeps going?

- (Katara) We tried to stay out of sight but Sokka  became concerned that we were being followed.
- (Katara) We tried to stay out of sight but Sokka  became concerned that we were being followed.

- (Michael) Here, Katara’s voice over functions  like a shitty wikipedia plot summary. Like the  
- (Michael) Here, Katara’s voice over functions  like a shitty wikipedia plot summary. Like the  

rest of her narration, it gives us precisely  zero information about her emotional state.  
rest of her narration, it gives us precisely  zero information about her emotional state.  

According to Ackerman, successful voiceover  works when it shows us a different perspective,
According to Ackerman, successful voiceover  works when it shows us a different perspective,

- After that you invent. The spending, the  abuse, the fear, the threat of violence.
- After that you invent. The spending, the  abuse, the fear, the threat of violence.

- (Michael) as is the case when a character is  being dishonest with the audience or themselves.
- (Michael) as is the case when a character is  being dishonest with the audience or themselves.

- Fezzik took great care in reviving Inigo.
- Fezzik took great care in reviving Inigo.

- (Michael) But Katara’s voiceover  doesn’t elucidate any internal struggles,  
- (Michael) But Katara’s voiceover  doesn’t elucidate any internal struggles,  

or reveal anything new about herself  or even about her deep faith in Aang.
or reveal anything new about herself  or even about her deep faith in Aang.

- (Katara) Aang flew us to his home. He told  us how he left there in a storm on Appa.
- (Katara) Aang flew us to his home. He told  us how he left there in a storm on Appa.

- (Michael) Here, voiceover is merely a piece  of duct tape over the torn fabric of the plot.
- (Michael) Here, voiceover is merely a piece  of duct tape over the torn fabric of the plot.

- (Katara) Aang showed them  
- (Katara) Aang showed them  

he was the last airbender and was  accepted to train with the master.
he was the last airbender and was  accepted to train with the master.

- (Michael) Throughout, we see information  conveyed through voiceover like:
- (Michael) Throughout, we see information  conveyed through voiceover like:

- (Katara) My brother and I  often go hunting for food but  
- (Katara) My brother and I  often go hunting for food but  

unfortunately my brother isn't  the best hunter in the world.
unfortunately my brother isn't  the best hunter in the world.

- (Michael) Rather than shown  through action, as it is on the show
- (Michael) Rather than shown  through action, as it is on the show

- (Sokka) It's not getting away from me this time. - (Katara) Hey!
- (Sokka) It's not getting away from me this time. - (Katara) Hey!

- (Michael) In the film, painful information  can be conveyed through clinical narration: 
- (Michael) In the film, painful information  can be conveyed through clinical narration: 

- (Katara) My mother was taken  prisoner and killed when I was young.
- (Katara) My mother was taken  prisoner and killed when I was young.

- (Michael) On the show it’s organic,  resulting from a heated confrontation
- (Michael) On the show it’s organic,  resulting from a heated confrontation

- (Katara) Ever since Mom died  I've been doing all the work  
- (Katara) Ever since Mom died  I've been doing all the work  

around camp while you've been off playing soldier!
around camp while you've been off playing soldier!

- (Michael) What’s more, good voiceover is  often compelling because it's MOTIVATED. A given  
- (Michael) What’s more, good voiceover is  often compelling because it's MOTIVATED. A given  

character has a reason for dispensing this piece  of information. The most common way to do this is  
character has a reason for dispensing this piece  of information. The most common way to do this is  

through the use of a storybook, as seen in just  about every Disney movie. Modern audiences may  
through the use of a storybook, as seen in just  about every Disney movie. Modern audiences may  

be less compelled by Cinderella’s plight, but the  device, creatively used, certainly can still work
be less compelled by Cinderella’s plight, but the  device, creatively used, certainly can still work

- (Shrek) Like that's ever  going to happen! What a load of-
- (Shrek) Like that's ever  going to happen! What a load of-

- (Michael) But filmmakers have gotten  creative  with voice over throughout the years.- For  
- (Michael) But filmmakers have gotten  creative  with voice over throughout the years.- For  

example, in the classic noir Double Indemnity,  voiceover functions as a recorded confession to  
example, in the classic noir Double Indemnity,  voiceover functions as a recorded confession to  

a crime. Indeed, successful noir films very  often employ superb voice over that adds to  
a crime. Indeed, successful noir films very  often employ superb voice over that adds to  

the characters’ complexity, or reveals their  subjectivity, sometimes rendering them unreliable.
the characters’ complexity, or reveals their  subjectivity, sometimes rendering them unreliable.

- I saw it once he was dead! And I was in for  it. Who would believe he would fall out of a car?
- I saw it once he was dead! And I was in for  it. Who would believe he would fall out of a car?

- (Michael) This makes it tense and  dynamic. The Last Airbender’s narration,  
- (Michael) This makes it tense and  dynamic. The Last Airbender’s narration,  

in comparison, is flat,  wooden, and just kind of lazy. 
in comparison, is flat,  wooden, and just kind of lazy. 

- I believe the child Avatar only has  knowledge of his brith element air.
- I believe the child Avatar only has  knowledge of his brith element air.

- (Michael) But let’s move on to perhaps  the greatest sin in the Last Airbender:  
- (Michael) But let’s move on to perhaps  the greatest sin in the Last Airbender:  

the dialogue. Now, dialogue is frequently used as  exposition in film. But what distinguishes good  
the dialogue. Now, dialogue is frequently used as  exposition in film. But what distinguishes good  

expositional dialogue from bad? According  to Yorke, “good exposition is disguised  
expositional dialogue from bad? According  to Yorke, “good exposition is disguised  

by making it dramatic - by injecting  conflict… The greater the conflict,  
by making it dramatic - by injecting  conflict… The greater the conflict,  

the less visible the exposition.” As an example  of successful dialogue, he cites Apocalypse Now,  
the less visible the exposition.” As an example  of successful dialogue, he cites Apocalypse Now,  

which crams an entire film’s worth  of exposition into one brisk scene:
which crams an entire film’s worth  of exposition into one brisk scene:

- Did you not assassinate a government tax  collector in Quang Tri province, June 19th, 1968? 
- Did you not assassinate a government tax  collector in Quang Tri province, June 19th, 1968? 

- (Michael) The result? As Yorke explains,  this scene manages to "incorporate subtext,  
- (Michael) The result? As Yorke explains,  this scene manages to "incorporate subtext,  

desire, conflict, and the  deeply personal to get across  
desire, conflict, and the  deeply personal to get across  

almost every fact the film needs in order to  be understood." The character’s evasiveness  
almost every fact the film needs in order to  be understood." The character’s evasiveness  

gives us just as much exposition as the  interviewer’s purely informative questions.
gives us just as much exposition as the  interviewer’s purely informative questions.

In contrast, The Last Airbender tends  to rely on conflict-free exposition,  
In contrast, The Last Airbender tends  to rely on conflict-free exposition,  

as when Katara blatantly pumps  her grandma for information:
as when Katara blatantly pumps  her grandma for information:

- (Katara) What is the  spirit world grandma?]
- (Katara) What is the  spirit world grandma?]

- (Michael) The result is  boring and static - there are no  
- (Michael) The result is  boring and static - there are no  

stakes to the reveal of any piece of information.
stakes to the reveal of any piece of information.

- (Grandma) I believe, that  little boy might be the Avatar.
- (Grandma) I believe, that  little boy might be the Avatar.

- (Michael) Grandma and Katara both think  this kid is the Avatar, and what’s more,  
- (Michael) Grandma and Katara both think  this kid is the Avatar, and what’s more,  

both think Katara and Sokka need to leave the  village to help him. Katara has to convince Sokka,  
both think Katara and Sokka need to leave the  village to help him. Katara has to convince Sokka,  

but it’s still pretty low conflict. Contrast this  with similarly-themed encounters on the show,  
but it’s still pretty low conflict. Contrast this  with similarly-themed encounters on the show,  

wherein Katara and GranGran disagree  about whether Aang's the Avatar:
wherein Katara and GranGran disagree  about whether Aang's the Avatar:

- (Katara) I told you! He's the real thing,  Gran Gran! I finally found a bender to teach me. 
- (Katara) I told you! He's the real thing,  Gran Gran! I finally found a bender to teach me. 

- (Gran Gran): Katara, try not to  put all your hopes in this boy.
- (Gran Gran): Katara, try not to  put all your hopes in this boy.

- (Michael) These tense moments are expository in  that they give background information - clearly  
- (Michael) These tense moments are expository in  that they give background information - clearly  

Katara has been searching and waiting to find  someone to teach her. These moments culminate in  
Katara has been searching and waiting to find  someone to teach her. These moments culminate in  

Katara choosing to go exploring with Aang largely  in defiance of her grandma, although Gran Gran  
Katara choosing to go exploring with Aang largely  in defiance of her grandma, although Gran Gran  

eventually gives her blessing, all resulting  in a compelling emotional arc. In contrast,  
eventually gives her blessing, all resulting  in a compelling emotional arc. In contrast,  

film-Katara leaves the village with  zero emotional tension or stakes.
film-Katara leaves the village with  zero emotional tension or stakes.

- (Katara) We're going with you.             
- (Katara) We're going with you.             

- (Michael) Let’s compare another plot point:  when Aang finds out that his the air nomads were  
- (Michael) Let’s compare another plot point:  when Aang finds out that his the air nomads were  

killed by the fire nation. In both the movie  and the show, Katara tries to warn Aang about  
killed by the fire nation. In both the movie  and the show, Katara tries to warn Aang about  

what to expect when they get to the Southern  Air Temple. But on the show, after Katara’s  
what to expect when they get to the Southern  Air Temple. But on the show, after Katara’s  

worst fears are proven right --the air nomads  are dead -- she starts to tell him but falters:
worst fears are proven right --the air nomads  are dead -- she starts to tell him but falters:

- (Katara) Aang there's something you need to see. - (Aang) Ok. 
- (Katara) Aang there's something you need to see. - (Aang) Ok. 

- (Sokka) Ow! - (Aang)  
- (Sokka) Ow! - (Aang)  

What is it? - (Katara)  
What is it? - (Katara)  

Just a new water bending move I learned.
Just a new water bending move I learned.

- (Michael) Katara tries to HIDE a painful  truth - Aang’s temple  was destroyed by  
- (Michael) Katara tries to HIDE a painful  truth - Aang’s temple  was destroyed by  

fire benders. Meanwhile, Aang’s trying to  figure out what the eff happened to his home.  
fire benders. Meanwhile, Aang’s trying to  figure out what the eff happened to his home.  

This setup innately bakes conflict into the reveal  of this information - the helmet becomes a ticking  
This setup innately bakes conflict into the reveal  of this information - the helmet becomes a ticking  

time bomb, and when Aang learns the truth, we’re  too wrapped up in the EMOTIONS to realize that we  
time bomb, and when Aang learns the truth, we’re  too wrapped up in the EMOTIONS to realize that we  

are being given crucial background information.  In contrast, the truth comes out pretty  
are being given crucial background information.  In contrast, the truth comes out pretty  

seamlessly in the film, with Katara eagerly  volunteering all the information Aang needs.
seamlessly in the film, with Katara eagerly  volunteering all the information Aang needs.

- (Katara) Aang, the firebenders knew that  the avatar would be born into the air nomads.
- (Katara) Aang, the firebenders knew that  the avatar would be born into the air nomads.

- (Michael) But our greatest grievance  with Last Airbender is in the way it  
- (Michael) But our greatest grievance  with Last Airbender is in the way it  

deals with Aang’s central conflict - whether  or not he can be slash is ready to be slash  
deals with Aang’s central conflict - whether  or not he can be slash is ready to be slash  

wants to be the Avatar. In both the show and  the movie, it takes some time to find out why  
wants to be the Avatar. In both the show and  the movie, it takes some time to find out why  

Aang was in the ice - that is, because he ran  away from his duties as the avatar. However,  
Aang was in the ice - that is, because he ran  away from his duties as the avatar. However,  

in the film, this information is revealed  quite readily and without prodding
in the film, this information is revealed  quite readily and without prodding

- (Aang) I ran away before they trained me.
- (Aang) I ran away before they trained me.

- (Michael) Aang’s confession SHOULD be huge.  
- (Michael) Aang’s confession SHOULD be huge.  

Instead it’s accepted by everyone pretty much  without reaction. In contrast, on the show,  
Instead it’s accepted by everyone pretty much  without reaction. In contrast, on the show,  

Aang tells the truth after prodding from  Katara, and only to correct her misassumption
Aang tells the truth after prodding from  Katara, and only to correct her misassumption

- (Katara) You have a right to be angry  
- (Katara) You have a right to be angry  

after the monks sent you away like that. - (Aang) Well, that's not exactly what happened…] 
after the monks sent you away like that. - (Aang) Well, that's not exactly what happened…] 

- (Michael) He admits it slowly:
- (Michael) He admits it slowly:

- (Aang) I was afraid and  confused. I didn't know what to do.
- (Aang) I was afraid and  confused. I didn't know what to do.

- (Michael) What’s more, he lets Katara, like  the audience, put the pieces together herself,  
- (Michael) What’s more, he lets Katara, like  the audience, put the pieces together herself,  

creating a much more dynamic,  though still expositiory, scene.
creating a much more dynamic,  though still expositiory, scene.

- (Katara) You ran away.
- (Katara) You ran away.

- (Michael) The Last Airbender film seems self  conscious about its overreliance on exposition,  
- (Michael) The Last Airbender film seems self  conscious about its overreliance on exposition,  

and sometimes the script almost  tries to repent. For example,  
and sometimes the script almost  tries to repent. For example,  

you see the writer TRYING to create  a compelling reason to tell us about  
you see the writer TRYING to create  a compelling reason to tell us about  

Zuko’s banishment, first via  his rivalry with General Zhao
Zuko’s banishment, first via  his rivalry with General Zhao

- (Zhao) As you know the fire  lord has banished the prince,  
- (Zhao) As you know the fire  lord has banished the prince,  

renounced his love for him and will not let  him have the throne unless he finds the avatar.
renounced his love for him and will not let  him have the throne unless he finds the avatar.

- (Michael) But the line  reveals its own redundancy:  
- (Michael) But the line  reveals its own redundancy:  

Zhao literally says AS YOU KNOW, rendering  the dialogue self-consciously unnecessary.  
Zhao literally says AS YOU KNOW, rendering  the dialogue self-consciously unnecessary.  

Then, the film imparts almost the  exact same information just minutes  
Then, the film imparts almost the  exact same information just minutes  

later when Zuko gets a little boy to  retell the story of his banishment.
later when Zuko gets a little boy to  retell the story of his banishment.

- (Zuko) Tell me what you know about  the prince, the fire lord's son.
- (Zuko) Tell me what you know about  the prince, the fire lord's son.

- (Michael) Here, there’s no reason why Zuko needs  to hear his own life story. It’s lamely justified  
- (Michael) Here, there’s no reason why Zuko needs  to hear his own life story. It’s lamely justified  

by the fact that he’s trying to explain to  his uncle why he can’t party and meet cute  
by the fact that he’s trying to explain to  his uncle why he can’t party and meet cute  

girls - he’s been disgraced and must regain his  honor. However, there’s no tension to the reveal  
girls - he’s been disgraced and must regain his  honor. However, there’s no tension to the reveal  

of his back story, and it mostly amounts to what  Ackerman calls “a big vomit pail of information."
of his back story, and it mostly amounts to what  Ackerman calls “a big vomit pail of information."

In a remarkably on the nose moment near the end  of the film, Aang begs the dragon spirit for help:
In a remarkably on the nose moment near the end  of the film, Aang begs the dragon spirit for help:

- (Aang) Please tell me  how to beat the fire nation
- (Aang) Please tell me  how to beat the fire nation

- (Michael) The spirit replies:
- (Michael) The spirit replies:

- (Dragon) Use the ocean.  Show them the power of water
- (Dragon) Use the ocean.  Show them the power of water

- (Michael) It’s a little ironic that  the tension between showing and telling  
- (Michael) It’s a little ironic that  the tension between showing and telling  

comes up in the literal dialogue of the  film. If only the writer had taken the  
comes up in the literal dialogue of the  film. If only the writer had taken the  

dragon spirits' own advice and shown  rather than told us Aang’s story. 
dragon spirits' own advice and shown  rather than told us Aang’s story. 

But what do you guys think? Are  we being too harsh on a film  
But what do you guys think? Are  we being too harsh on a film  

so bad its two sequels were promptly  abandoned? Let us know in the comments.  
so bad its two sequels were promptly  abandoned? Let us know in the comments.  

As always, big thanks to our patrons for your  support. Go ahead and bend that subscribe  
As always, big thanks to our patrons for your  support. Go ahead and bend that subscribe  

button like it’s the blood of your enemy  and as always, thanks for watching. Later!
button like it’s the blood of your enemy  and as always, thanks for watching. Later!