Executive Summary

Suspense is skillfully woven throughout "Vice," primarily through the strategic pacing of political maneuvering and the foreshadowing of significant historical events. The narrative masterfully builds anticipation for Cheney's ascent to power, the consequences of his decisions, and the unfolding of major crises like 9/11. While effective, the sheer density of plot points and rapid shifts can sometimes dilute its impact, demanding a more focused application in certain sequences.

Usage Analysis

• Suspense is established early in Sequence 1 with the drunken driving scene and the subsequent police stop, creating immediate anticipation for young Dick Cheney's consequences. The abrupt jump to 9/11 immediately injects a higher level of suspense as the audience anticipates the unfolding national crisis and the reactions of key figures.
• In Sequence 2, the authorization to shoot down aircraft and the narrator's framing of Cheney seeing an 'opportunity' amidst chaos build intense anticipation and a sense of foreboding about the decisions being made during 9/11.
• Sequence 7, detailing Nixon's secret conversation about bombing Cambodia, creates suspense through the juxtaposition of the peaceful village with the imminent, brutal attack, and through Cheney's struggle to articulate his beliefs, hinting at a future moral compromise.
• Sequence 16 builds extreme anticipation through the extended, almost agonizing gargling scene, the narrator's questioning of Cheney's thoughts, and the poetic, ambitious dialogue between Dick and Lynne, all pointing towards his re-entry into power.
• The intense suspense in Sequence 19 revolves around the 2000 election recount, with Cheney's bold assertion of control over the transition team and his subsequent health scare adding layers of political and personal uncertainty. The audience anticipates the outcome of the election and the implications of these power plays.
• Sequence 21 escalates suspense through the meticulous explanation of Cheney's team infiltrating the administration, controlling presidential access, and pre-planning the Iraq invasion. The game board visualizes this strategic maneuvering, building anticipation for the execution of their plans.
• Sequence 23 builds suspense through the secretive nature of Cheney's meetings with energy CEOs and the revelation of the map of Iraqi oil fields, juxtaposed with the shocking news of 9/11, creating a sense of foreboding and anticipation for how these events might intersect.
• Sequence 24 heightens suspense with the constant barrage of alarming intelligence and Cheney's demand for unfiltered information, generating anxiety about the scope of the threats and the legitimacy of the response. The visual of the bunker and the potential for further attacks keeps the tension high.
• Sequence 25 maintains suspense through the escalating list of terrifying potential attacks and Cheney's visible fear, as well as the symbolic image of the shadowy creature in the stream, creating a sense of impending doom and unseen dangers.
• Sequence 29 builds anticipation for the invasion of Iraq, with Powell's ethical objections and the questionable intelligence creating foreboding and anxiety about the inevitable decision to invade.
• Sequence 31 creates suspense through the ongoing consequences of the war, the dismissal of Halliburton's billing, Cheney's lack of apology for the hunting incident, and the Plame leak, all hinting at future repercussions and political fallout.
• Sequence 32's suspense stems from the connection between U.S. actions and the rise of ISIS, the graphic depiction of the London bombing, and Cheney's dismissive response to Senator Leahy, all contributing to a sense of impending doom and unchecked power.
• Sequence 33 culminates suspense with the narrator's sudden death and Cheney's own health crisis, creating uncertainty about the narrative's conclusion and the true cost of Cheney's actions.

Critique

• Suspense effectively drives the narrative forward, particularly in the early sequences and during the 9/11 crisis. The anticipation built around Cheney's political ascent and the ethical compromises made by his administration keeps the audience engaged.
• The use of suspense is well-integrated with the thematic exploration of power and its corrupting influence. For example, the tension surrounding the Unitary Executive Theory (Sequence 10) and the manipulation of intelligence for war (Sequence 29) create a sense of dread about the potential for unchecked authority.
• The suspense built around the personal lives of the Cheneys, such as Mary's accident and revelation (Sequence 13) and Liz's campaign struggles (Sequence 34), adds an emotional layer, although these personal stakes sometimes detract from the broader political suspense.
• The rapid pacing, especially in sequences detailing rapid political gains or the unfolding of crises, effectively maintains a high level of suspense. However, in sequences with extensive dialogue or explanation of legal/political concepts, the suspense can sometimes wane.
• The foreshadowing in sequences like the Iraqi oil map before 9/11 (Sequence 23) effectively builds a sense of foreboding and suspense, suggesting a deeper narrative at play beyond the immediate events.

Suggestions

• In sequences involving legal or political explanations (e.g., Unitary Executive Theory in Sequence 10, FACA in Sequence 23), consider breaking down complex information with more visual cues or shorter, more impactful dialogue exchanges to maintain pacing and suspense. Alternatively, intersperse these explanations with immediate plot developments to keep the tension high.
• While the 9/11 sequence (Sequence 24) is effective, the narrator's intrusion could be used more strategically to heighten suspense by posing direct questions or observations that create an immediate sense of mystery about Cheney's motives, rather than just stating facts.
• In scenes of intense political negotiation or planning (e.g., Sequence 21), consider visually representing the stakes more concretely. For instance, instead of just game pieces, subtly hint at the human cost or the real-world impact of their decisions to amplify the suspense through dread.
• The suspense surrounding Cheney's health crises (Sequences 11, 33) could be further enhanced by intercutting his medical struggles with critical political decisions or events, creating a more profound sense of vulnerability and consequence.
• In the final sequences (35-36), while the ending is impactful, the shift to the focus group argument after Cheney's interview might disrupt the lingering suspense of his final statements. Consider a more direct follow-up to his interview or a more tightly integrated ending that directly connects the focus group's reaction to his legacy.

Questions for AI

• How can the pacing be adjusted in the longer dialogue-heavy sequences (e.g., legal explanations) to sustain suspense without sacrificing clarity?
• Are there opportunities to introduce more visual or auditory elements during political discussions to amplify the suspense, beyond just dialogue and game boards?
• Could the narrator's interjections be used more to actively create suspense by posing direct questions about Cheney's immediate intentions or future actions, rather than simply providing context?
• How can the suspense surrounding Cheney's personal health issues be more tightly integrated with the political narrative to create a greater sense of urgency and consequence?
• In the final act, how can the narrative effectively maintain the emotional and thematic suspense established in Cheney's final interview, rather than shifting abruptly to a new, unrelated conflict in the focus group scene?

Executive Summary

Fear is a potent force in "Vice," manifesting from personal anxieties (Lynne's fear of repeating her mother's life) to national terror (9/11) and the chilling implications of unchecked state power (torture, surveillance). The screenplay effectively uses fear to underscore the human cost of political decisions and the erosion of civil liberties. Its most impactful moments are those that depict the tangible consequences of fear, both on individuals and society.

Usage Analysis

• In Sequence 1, the erratically swerving car and flashing police lights immediately establish a sense of immediate danger and fear for young Dick Cheney.
• The 9/11 sequences (1, 2, 23, 24, 25) are saturated with fear, from the shock and terror of the attacks themselves to the palpable anxiety of those in the bunker. The evacuation to the bunker and the discussion of potential further attacks create intense fear for national safety.
• Sequence 4 vividly portrays Lynne's fear of repeating her mother's domestic situation, expressed through her passionate ultimatum to Dick and the flashback to her father's abusive behavior. This personal fear is a driving force for Dick's vow to change.
• Sequence 16, through flashbacks to past family traumas and Lynne's concerns about Mary's safety, evokes a subtle undercurrent of fear related to past losses and future vulnerabilities.
• Sequence 25 utilizes graphic descriptions of potential terrorist attacks to instill a profound sense of terror and apprehension in the viewer. The visual of Cheney's eyes reflecting fear solidifies this.
• Sequence 26 and 27 directly confront the fear of government overreach and the normalization of torture and warrantless surveillance. The graphic depiction of torture and the cynical justification of these acts create a moral fear of the state's potential for abuse.
• Sequence 29 taps into the fear of war, particularly the consequences of invading Iraq based on questionable intelligence. Powell's reservations and the implied human cost create apprehension.
• Sequence 31 links the Iraq war to the rise of ISIS and the ongoing violence, creating a fear of continued conflict and the broader repercussions of the war.
• Sequence 34 portrays Liz Cheney's fear of political manipulation and the harsh realities of campaigning, specifically the use of emotionally charged push polling against her stance on gay marriage, highlighting the personal attacks that fear can fuel.
• Sequence 35's closing monologue by Cheney, while framed as justification, also reflects a deep-seated fear of 'monsters' and a perceived need to protect families, revealing the underlying motivation for his controversial decisions.
• The final focus group scene (Sequence 36) illustrates the fear of societal division and the ease with which dialogue breaks down into aggression when political polarization reaches extreme levels.

Critique

• The screenplay effectively uses fear to drive both personal and political narratives. The fear of domestic ruin in Lynne's ultimatum (Sequence 4) is as compelling as the national terror of 9/11 (Sequence 25), demonstrating the emotion's versatility.
• The portrayal of fear, particularly concerning government overreach and torture (Sequences 26-27), is visceral and deeply unsettling, effectively highlighting the moral and ethical compromises made by the administration.
• The connection between fear and political decision-making is a central theme. The screenplay shows how manufactured fear (e.g., the 'death tax' campaign in Sequence 22) can be used to justify policy changes and military action.
• The final interview (Sequence 35) where Cheney speaks of 'monsters' and protecting families, while presented as justification, also reveals a core fear that has likely driven many of his actions, adding a layer of complexity to his character.
• The fear generated by the graphic violence in the torture scenes (Sequence 26) is a powerful tool, but it risks overwhelming the narrative's more nuanced political commentary if not balanced carefully.

Suggestions

• In the 9/11 sequences, while the immediate fear is evident, consider subtly showing how this fear begins to shape policy decisions even in the immediate aftermath, perhaps through a brief, unsettling glance or line of dialogue that hints at future overreach.
• When depicting the justifications for torture and surveillance (Sequences 26-27), consider interspersing these legal discussions with brief, haunting glimpses of the potential victims or the societal impact of such policies, to amplify the viewer's empathetic fear.
• In the political manipulation sequences (e.g., Sequence 22 and 29), the fear of public opinion being swayed could be amplified by showing more direct reactions from ordinary citizens who are being influenced by the propaganda, making the consequences of this fear-based manipulation more tangible.
• Cheney's final monologue (Sequence 35) effectively conveys his justification rooted in fear. To further enhance its impact, consider showing a brief, almost subliminal visual flashback to a specific moment of terror or threat that might have cemented this fear in him.
• The fear elicited by the graphic violence in the torture scenes is impactful but could be balanced by showing the psychological toll it takes on the perpetrators, adding another dimension to the depiction of fear and its corrupting influence.

Questions for AI

• How can the screenplay better illustrate the link between personal fears (like Lynne's) and the broader political decisions driven by fear (like the 'war on terror')?
• Are there opportunities to show the gradual erosion of civil liberties through fear-based rhetoric, rather than just presenting the established legal justifications for surveillance and torture?
• How can the depiction of fear in the civilian victims of conflict (Sequence 31, 30) be further amplified to underscore the human cost of the decisions made by those in power?
• In Cheney's final interview, how can the underlying fear driving his actions be more subtly integrated into his dialogue, rather than relying solely on his explicit statements about 'monsters'?
• Could the fear generated by the political polarization in the focus group scene (Sequence 36) be more effectively connected to the broader themes of societal division explored throughout the film?

Executive Summary

Joy in "Vice" is rare and often fleeting, appearing in moments of familial connection or ironic triumph. It serves primarily as a contrast to the overarching themes of ambition, power, and moral compromise. While the screenplay acknowledges moments of happiness, it intentionally keeps them understated, emphasizing the sacrifices made in the pursuit of power and the absence of genuine, lasting joy in Cheney's driven life.

Usage Analysis

• Sequence 1 offers a brief moment of pure joy with young Dick Cheney's 'scream to the heavens in triumph' after winning at dice, highlighting a carefree youthful exuberance.
• Sequence 6 portrays a moment of familial pride and elation as Dick shares his success of meeting Nixon with Lynne and their daughters. The 'best fucking feeling in the world' quote encapsulates this peak joy.
• Sequence 10 presents a heartwarming scene of shared joy between Dick and Lynne as he achieves the position of Chief of Staff. Their kiss and mutual pride are clear indicators of happiness and celebration.
• Sequence 14 offers a tranquil, joyful depiction of the Cheney family enjoying a fishing trip by the lake, with laughter and intergenerational connection. The on-screen text suggests this was a peak of happiness and choice.
• Sequence 30, while amidst the grim context of war, shows a brief moment of lightheartedness at the Cheney family dinner table with jokes about 'American Idol' and fishing riddles.
• Sequence 34's brief mention of the family laughing and enjoying themselves on horseback, and Dick holding his newborn granddaughter, offers glimpses of familial joy.
• Sequence 35's inclusion of Cheney's proud declaration of honor in serving the American people, though delivered with intense conviction, could be interpreted as a form of fulfillment and, in his view, a source of joy in having done 'what needed to be done'.

Critique

• The screenplay effectively uses joy to provide brief respite and contrast, highlighting the emotional cost of Cheney's relentless pursuit of power. These moments of happiness are more poignant because they are scarce.
• The familial joy depicted in sequences like 14 and 34 serves to humanize the characters, making their subsequent political actions more complex and their compromises feel more significant.
• The irony of joy often appearing in conjunction with or immediately preceding darker events (e.g., the happiness in Sequence 6 preceding the political upheaval of Nixon's resignation) underscores the screenplay's critical tone.
• While present, moments of pure, unadulterated joy are rare. The 'triumph' in Sequence 1 is short-lived, and the later joys are often tinged with the awareness of the sacrifices made or the future challenges ahead.
• The screenplay's focus on the darker aspects of power means that moments of joy are intentionally understated, serving more as punctuation marks than driving forces, which aligns with the overall critical and analytical tone of the film.

Suggestions

• To further emphasize the contrast between genuine joy and the pursuit of power, consider extending the duration of certain familial joy scenes. For example, the fishing scene in Sequence 14 could be slightly longer, allowing the audience to savor the feeling of peace before the narrative pivots back to political machinations.
• In moments where joy is linked to political achievement (e.g., Sequence 6), subtly introduce a fleeting shadow or a concerned glance that hints at the underlying costs or compromises, thereby adding a layer of dramatic irony and subverting the pure joy.
• Consider using music more effectively to underscore moments of genuine joy. A more uplifting and expansive score during scenes like the family outing in Sequence 14 could enhance the emotional impact and contrast with the film's often somber soundtrack.
• While the film's tone is largely critical, a slightly more pronounced expression of joy in certain key moments, perhaps in Lynne's initial pride or Dick's fulfillment in serving his country (as he claims in Sequence 35), could make the eventual fall or the nature of his ambition even more stark by comparison.
• In the closing sequences, if any hint of positive familial resolution is to be shown, ensure it is presented with a clear understanding of the context that follows, so that the joy feels earned but also tinged with the knowledge of what has transpired. The current ending is deliberately ambiguous, which works, but could also allow for a more resonant final moment of bittersweet joy.

Questions for AI

• How can the fleeting nature of joy in the screenplay be utilized to more effectively highlight the profound sacrifices made in the pursuit of power?
• In scenes of familial joy, how can subtle visual or auditory cues be used to foreshadow the eventual complexities and compromises that arise from Cheney's political career?
• Could the musical score be employed more strategically to amplify the emotional resonance of the limited moments of joy, thereby creating a stronger contrast with the film's darker themes?
• How can the screenplay balance the portrayal of genuine familial happiness with the overarching critical narrative, ensuring that the moments of joy don't feel jarring or out of place?
• In the final moments of the film, how can any semblance of joy or peace be depicted in a way that acknowledges the controversial legacy and avoids undermining the film's central critique?

Executive Summary

Sadness permeates "Vice," manifesting as profound grief over loss (Edna's death), disillusionment with political processes, and the pervasive sense of moral decay. The screenplay effectively uses sadness to underscore the human cost of political decisions, the erosion of ethical standards, and the personal sacrifices made in the relentless pursuit of power. The most impactful moments of sadness are often tied to the consequences of actions, both personal and political.

Usage Analysis

• Sequence 4 evokes sadness through Lynne's deep-seated fear of repeating her mother's unhappy domestic life and the flashback to her father's abusive behavior, highlighting the lasting trauma of past suffering.
• Sequence 8 powerfully conveys grief through Lynne's shock and disbelief at her mother Edna's drowning, emphasizing the tragedy and the unresolved questions surrounding the death. The funeral scene underscores the sadness of loss.
• Sequence 25 creates a profound sense of sadness through the detailed descriptions of potential catastrophic attacks, evoking dread and despair about the future. Cheney's own visible fear contributes to this somber atmosphere.
• Sequence 26 and 27 are saturated with sadness derived from the moral despair and disillusionment caused by the justification and depiction of torture and the erosion of legal and ethical norms.
• Sequence 29, detailing the manipulation of intelligence and the pressure on Colin Powell, engenders moral sorrow and sadness for the human cost of war and the compromised decision-making process.
• Sequence 30, with its depiction of the Iraqi family's terror and the cruise missile strike, evokes deep grief for the innocent lives lost and the suffering inflicted by the war.
• Sequence 31 highlights sadness through the graphic imagery of burning bodies, the death of a young soldier, and the overall sense of ongoing conflict, leading to disillusionment with leadership.
• Sequence 33 conveys deep melancholy and grief through Cheney's health crisis, the narrator's bitter death and sacrifice, and the lingering questions about accountability and the human toll of past decisions.
• Sequence 34's depiction of Liz Cheney's tearful despair over her campaign and Mary's hurt over the familial political conflict evokes sadness over fractured relationships and the harsh realities of public life.
• Sequence 35 is deeply melancholic and sorrowful, presenting the devastating statistics of the Iraq War, the lost emails, and the continued accessibility of controversial legal memos, leading to a profound disillusionment with the events and their aftermath.
• Sequence 36's portrayal of the focus group devolving into insults and a fight evokes sadness about the breakdown of civil discourse and the deep societal divisions fostered by political polarization.

Critique

• The screenplay uses sadness effectively to underscore the tragic consequences of ambition and the pursuit of power. The grief over personal loss (Edna's death) and the broader sorrow over the human cost of political decisions are consistently portrayed.
• The sadness derived from the erosion of ethical standards and legal principles (torture, surveillance justifications) is particularly impactful, creating a sense of moral despair and disillusionment in the audience.
• The film expertly contrasts moments of perceived triumph with underlying currents of sadness. For example, Cheney's rise to power is often juxtaposed with the sacrifices or questionable actions that enabled it, leading to a bittersweet or sorrowful feeling.
• The sadness evoked by the war in Iraq and its devastating impact on civilians and soldiers (Sequences 30, 31) is powerfully depicted, making the audience reflect on the true cost of political agendas.
• The narrative's consistent focus on the darker aspects of power and the negative consequences of actions ensures that sadness is a pervasive and impactful emotion throughout the film, contributing to its critical and analytical tone.

Suggestions

• In sequences depicting personal loss, such as Edna's drowning (Sequence 8) or Mary's distress (Sequence 34), consider brief moments of quiet reflection or visual symbolism that allow the audience to fully absorb the sadness before moving to the next plot point. The immediate aftermath can sometimes feel rushed.
• When discussing the legal justifications for torture and surveillance (Sequences 26-27), intersperse the detached legal discourse with brief, haunting images or sounds that represent the human suffering caused, thereby amplifying the sadness associated with these morally bankrupt decisions.
• The depiction of war's consequences (Sequences 30, 31) is impactful. To deepen the sense of sadness, consider showing more intimate, personal stories of loss or displacement among Iraqi civilians, rather than just broader depictions of conflict and destruction.
• In the final sequences, the sadness stemming from the ongoing societal divisions and the narrator's bitter fate could be more explicitly linked to the actions and decisions of Cheney and his administration, reinforcing the narrative's critique and amplifying the sense of collective sorrow.
• While the film effectively conveys sadness through consequence, consider moments of internalized sadness within Cheney himself, perhaps through subtle visual cues or brief moments of quiet contemplation, that suggest a hidden regret or awareness of the sorrow he has inflicted, even if he outwardly denies it.

Questions for AI

• How can the screenplay better balance the depiction of immense political and societal sadness with moments of personal grief, ensuring both resonate deeply with the audience?
• In scenes detailing the erosion of legal and ethical standards, how can the 'sadness' of this moral decay be more viscerally conveyed, beyond just the intellectual understanding of its wrongness?
• Are there opportunities to more directly contrast the 'joy' of political ambition with the 'sadness' of its human cost, thereby amplifying the emotional impact of both?
• When depicting the consequences of war, how can the screenplay ensure the sadness evoked is not desensitizing, but rather remains a powerful reminder of the human toll?
• How can the film's ending, which emphasizes ongoing societal divisions and personal bitterness, more effectively tie the resulting sadness back to the core actions and decisions of Dick Cheney?

Executive Summary

Surprise is a crucial element in "Vice," employed through jarring tonal shifts, unexpected narrative devices, and shocking plot developments. From the abrupt introduction of 9/11 to the outlandish 'wigs on penises' metaphor and the narrator's violent death, surprise is used to keep the audience engaged, challenge expectations, and underscore the absurdity and ruthlessness of the political landscape. While generally effective, some surprises can feel overly theatrical or detached from the core narrative, requiring careful integration.

Usage Analysis

• Sequence 1 delivers a significant surprise with the abrupt cut from young Dick's drunken driving to the 9/11 attacks, immediately escalating the stakes and shocking the viewer with the shift in context.
• Sequence 9 introduces a deeply surprising and outlandish metaphorical proposal by Cheney ('miniature wigs on our penises'), which, despite its shock value, is then shockingly accepted by Ford and Kissinger, highlighting the bizarre nature of political discourse.
• Sequence 16 employs a surprising narrative device with the poetic, Shakespearean-esque dialogue between Dick and Lynne, revealing the depth of their shared ambition in a highly unexpected way.
• Sequence 20 offers a surprising narrative turn with the narrator's death by car strike, a shocking event that immediately recontextualizes the audience's perception of the narrator's role and sacrifice.
• The explanation of the Unitary Executive Theory in Sequence 10, especially its implications for unchecked presidential power, can be surprising for viewers unfamiliar with the concept, revealing a hidden mechanism of governance.
• The graphic and brutal depiction of torture in Sequence 26, especially when presented as legally justified 'enhanced interrogation,' is shocking and unexpected in its depiction of state-sanctioned cruelty.
• Sequence 32's portrayal of Cheney's order to 'leak it' regarding Valerie Plame's identity is a surprising and shocking act of political retribution.
• The reveal of the connection between the US hyping of Zarqawi and the rise of ISIS in Sequence 32 is a shocking revelation that highlights the unintended consequences of political strategy.
• The narrator's final commentary in Sequence 35, highlighting the lost emails and continued accessibility of torture memos, provides a surprising and disturbing postscript about the lingering impact and potential for future misuse of power.
• The final focus group scene (Sequence 36) ends with a surprising and somewhat abrupt shift from intense political argument to a girl's mundane comment about a movie, highlighting societal fragmentation.

Critique

• Surprise is effectively used to jolt the audience out of complacency, particularly through tonal shifts (e.g., 9/11 introduction) and narrative devices (e.g., Shakespearean dialogue). This keeps the viewing experience dynamic and unpredictable.
• The shock value of certain elements, like the 'wigs on penises' metaphor and the graphic torture scenes, is undeniable. These surprises can be effective in highlighting the absurdity or barbarity of the situations, but risk becoming gratuitous if not carefully contextualized.
• The narrator's unexpected death serves as a surprising meta-commentary, forcing the audience to reconsider the narrative's construction and the sacrifices made within its story. This device is a significant contributor to the film's unique structure.
• Some surprises, like the rapid political gains or the ease with which laws are reinterpreted, can feel overwhelming, and might benefit from more deliberate pacing or clearer emotional grounding for the characters involved.
• The screenplay's willingness to employ bold, unexpected narrative choices contributes to its distinct style and memorable moments, ensuring the audience remains engaged and questioning.

Suggestions

• In sequences involving significant plot twists or reveals (e.g., the connection between Zarqawi and ISIS in Sequence 32), consider building slightly more anticipation or providing clearer thematic resonance beforehand. This can make the surprise more impactful and less like a sudden narrative shift.
• The 'wigs on penises' metaphor (Sequence 9), while shocking, could be further integrated into the scene's thematic core. Ensure it serves not just as a shock element but also as a potent, albeit absurd, commentary on the absurdity of political maneuvering and ego.
• The narrator's death (Sequence 20) is a powerful surprise. To enhance its impact, consider more subtly foreshadowing the narrator's presence or connection to the events throughout the film, making the eventual revelation feel earned rather than entirely out of the blue.
• In sequences where legal or political concepts are explained (e.g., Unitary Executive Theory), consider weaving in more moments of surprise regarding the *implications* or *future applications* of these concepts, rather than just the explanation itself. For instance, a brief, unsettling glimpse of how it might be used later.
• The ending's abrupt shift to the focus group argument (Sequence 36) is surprising but could feel disconnected. Consider a more integrated transition that ties the focus group's reaction directly back to the film's portrayal of Cheney's legacy or the ongoing impact of political division.

Questions for AI

• How can the screenplay better integrate shocking plot twists with the emotional arcs of the characters involved, ensuring surprises have lasting narrative weight?
• In scenes that rely on shocking metaphors or dialogue (e.g., 'wigs on penises'), how can their thematic relevance be amplified to prevent them from feeling gratuitous?
• What subtle foreshadowing techniques could be employed to make surprising narrative devices, like the narrator's death or the film's meta-commentary, feel more organically woven into the story?
• How can the screenplay ensure that surprising reveals about political maneuvering or legal interpretations have a clear and lasting impact on the audience's understanding of the characters and their motivations?
• In the film's conclusion, how can the element of surprise be used more effectively to leave a lasting impression without feeling abrupt or disconnected from the preceding narrative?

Executive Summary

Empathy in "Vice" is a complex emotion, often evoked through moments of personal vulnerability amidst political maneuvering. The screenplay elicits empathy for Lynne's fear of domestic abuse, Mary's struggles with her identity and the political fallout, and even, at times, for Cheney himself when confronting his own mortality or familial concerns. However, the film deliberately challenges direct empathy for Cheney's political actions, often presenting them through a critical lens, thus creating a more nuanced emotional response.

Usage Analysis

• Sequence 4 is rich with empathy for Lynne, as her childhood trauma and fear of repeating her mother's life are laid bare, making her ultimatum to Dick deeply understandable and evoking strong sympathy.
• Sequence 8 elicits empathy for Lynne's profound grief and shock over her mother Edna's drowning, particularly her insistence that her mother didn't swim, highlighting the personal tragedy amidst political ambition.
• Sequence 13 generates significant empathy for Mary Cheney, first due to her traumatic car accident and then her courageous, yet vulnerable, revelation of her sexuality to her parents, especially given the political context.
• Sequence 16, through flashbacks to past family hardships, provides context for the current situation, fostering a degree of empathy for the shared history and struggles between Dick and Lynne.
• Sequence 24 evokes empathy for Lynne's distress during the 9/11 attacks and her insistence on going to the White House, grounding the national crisis in a personal, immediate fear.
• Sequence 25, while terrifying, also shows a glimpse of fear in Cheney's eyes, potentially fostering a sliver of human empathy by revealing his vulnerability to the immense threats he is facing.
• Sequence 29 evokes sympathy for Colin Powell's ethical dilemma and his struggle to present intelligence he knows to be questionable, highlighting the pressure and compromise faced by those with moral reservations.
• Sequence 30 generates strong empathy for the innocent Iraqi family caught in the crossfire of war, their terror palpable as they witness a cruise missile strike.
• Sequence 31 offers sympathy for the soldiers fighting in Iraq and the immense personal cost of the war, particularly through the depiction of the young soldier's tragic death.
• Sequence 34 elicits empathy for Liz Cheney's despair and Mary's distress over the familial conflict and political attacks, highlighting the personal toll of political ambition.
• Sequence 35, despite Cheney's unrepentant stance, his emotional appeal about protecting families and fighting 'monsters' can evoke a complex, albeit conflicted, empathy for his perceived motivations.
• Sequence 36's portrayal of the focus group devolving into conflict elicits empathy for those trying to engage in civil discourse amidst extreme polarization.

Critique

• The screenplay is effective at generating empathy for the female characters, particularly Lynne and Mary, whose personal struggles and emotional journeys are portrayed with depth and vulnerability.
• Empathy for the victims of political decisions, such as the Iraqi family in Sequence 30 or the soldiers in Sequence 31, is powerfully conveyed through visceral imagery and impactful narrative framing.
• The film masterfully challenges direct empathy for Cheney's political actions by juxtaposing them with their devastating consequences, forcing the audience to engage with his motivations critically rather than solely sympathetically.
• The moments where Cheney himself displays vulnerability (e.g., his health crises, the fear during 9/11 intelligence briefings) can evoke a complex, humanizing empathy, even if it's overshadowed by his broader political legacy.
• The deliberate withholding of direct emotional access to Cheney's inner thoughts, except when framed by the narrator or contrasted with his actions, creates a deliberate distance, forcing the audience to construct their own empathy or lack thereof based on his behavior and its outcomes.

Suggestions

• In scenes where Cheney displays personal vulnerability (e.g., health crises, fear during intelligence briefings), consider subtly interweaving brief visual callbacks to the consequences of his actions. This would create a more potent empathetic conflict for the audience, contrasting his personal struggle with the suffering he has caused.
• When depicting the manipulation of intelligence for war (Sequence 29), while Powell's struggle is empathetic, consider a brief scene showing a lower-level analyst's internal conflict or distress upon realizing their work is being misused. This would broaden the scope of empathy beyond just the prominent figures.
• In the depiction of the Iraq war's impact (Sequence 31), while the imagery is stark, consider a brief, more intimate portrayal of a single Iraqi family's long-term struggles or displacement, fostering deeper, more specific empathy rather than a generalized sense of suffering.
• The focus on familial empathy (Sequences 4, 13, 14, 34) is strong. To further enhance this, consider a scene where Cheney's decision to prioritize political ambition over certain family values (e.g., Mary's sexuality in Sequence 13, or Liz's campaign in Sequence 34) is met with a direct, albeit silent, expression of disappointment or sadness from his family, eliciting empathy for their position.
• In Cheney's final interview (Sequence 35), while he justifies his actions, consider a subtle visual cue that suggests a flicker of regret or acknowledgment of the loss he has caused. This could make his pronouncements less definitive and open the door for a more complex empathetic response from the audience, even if it's just a momentary hesitation.

Questions for AI

• How can the screenplay better connect the audience's empathy for Cheney's personal struggles (health, family) with their critical view of his political actions, creating a more nuanced emotional response?
• In scenes depicting victims of war or political decisions, how can the narrative ensure that empathy is directed towards specific, relatable individuals rather than remaining generalized?
• Are there opportunities to explore the empathy (or lack thereof) of Cheney's advisors and colleagues towards the consequences of their actions, thereby widening the scope of empathetic engagement?
• How can the screenplay leverage the audience's existing knowledge of historical events to amplify empathy for the individuals who were directly impacted by Cheney's policies and decisions?
• In the film's conclusion, how can the final moments be structured to leave the audience with a lingering sense of complex empathy, rather than a simple judgment, for the characters and their legacies?

Executive Summary

Surprise is a key driver in "Vice," achieved through jarring tonal shifts, unexpected narrative devices, and shocking plot revelations. From the abrupt cut to 9/11 and the outlandish 'wigs on penises' metaphor to the narrator's violent death and Cheney's resolute, often ruthless, decisions, surprise is used to keep the audience engaged, challenge expectations, and highlight the absurdity and moral ambiguity of the political landscape. While effective in grabbing attention, some surprises can feel gratuitous if not carefully integrated thematically.

Usage Analysis

• Sequence 1 immediately surprises the audience by juxtaposing young Dick's drunken driving with the catastrophic events of 9/11, creating a jarring tonal and contextual shift.
• Sequence 9 introduces an outlandish metaphorical proposal by Cheney ('miniature wigs on our penises'), which is then shockingly accepted by Ford and Kissinger, highlighting the bizarre and potentially absurd nature of political discourse and decision-making.
• Sequence 16 provides a narrative surprise with the sudden shift to poetic, Shakespearean-esque dialogue between Dick and Lynne, revealing the depth of their shared ambition in a highly unexpected and dramatic way.
• Sequence 20 delivers a major narrative surprise with the narrator's sudden and violent death by car strike, recontextualizing the narrator's role and the film's meta-commentary.
• Sequence 10's explanation of the Unitary Executive Theory is surprising in its implications for unchecked presidential power, especially for viewers unfamiliar with the concept.
• The graphic and brutal depiction of torture in Sequence 26, presented as legally justified 'enhanced interrogation,' is shocking and unexpected in its normalization of state-sanctioned cruelty.
• Sequence 32's revelation of Cheney's direct order to 'leak it' regarding Valerie Plame's identity is a surprising and shocking act of political retribution and abuse of power.
• The connection drawn between the US 'hyping' of Zarqawi and the subsequent rise of ISIS in Sequence 32 is a surprising and impactful revelation about the unintended consequences of political strategy.
• Sequence 35's closing statistics and revelations about lost emails and accessible torture memos offer a surprising and disturbing postscript, highlighting the lingering impact and potential for future misuse of power.
• The final focus group scene (Sequence 36) concludes with a surprising and somewhat abrupt shift from intense political argument to a young woman's mundane comment about a movie, highlighting societal fragmentation and disengagement.

Critique

• Surprise is a powerful tool in "Vice," effectively employed to create memorable moments and challenge audience expectations. The jarring tonal shifts, particularly the cut to 9/11, immediately signal the film's unconventional approach.
• The metaphorical and hyperbolic elements, such as the 'wigs on penises' proposal, while shocking, effectively serve to satirize the absurdity and ego that can permeate political circles, thus making the surprise thematically relevant.
• The narrator's death is a significant narrative surprise that redefines the film's structure and commentary, forcing a re-evaluation of the storytelling itself and the narrator's relationship to the events.
• The unexpectedness of certain political maneuvers, like Cheney's ability to consolidate power or the casual dismissal of ethical concerns, surprises the audience and highlights the film's critical perspective on the nature of power.
• While surprising, some elements, like the graphic torture scenes, could risk alienating viewers if not balanced with deeper thematic exploration. The shock should serve the narrative's critique, not just be an end in itself.

Suggestions

• In sequences where surprise arises from abrupt tonal shifts (e.g., Sequence 1's cut to 9/11), consider slightly longer transitional moments or more thematic connective tissue to ensure the surprise feels deliberate and impactful rather than disorienting. Perhaps a brief visual motif connecting the two.
• For the more outlandish satirical moments, like the 'wigs on penises' proposal (Sequence 9), ensure the dialogue and performances maintain a consistent tone that allows the absurdity to land effectively. The surprise should stem from the content, not from an inconsistent delivery.
• The narrator's death (Sequence 20) is a major surprise. To make it more impactful, consider subtly seeding hints throughout the film about the narrator's connection to the events or a potential sacrifice, so the surprise feels like a shocking revelation rather than a random occurrence.
• In moments of surprise related to political maneuvering or legal reinterpretations (e.g., Unitary Executive Theory in Sequence 10), consider a more visually dynamic way to convey the surprise and its implications, perhaps through animated graphics or more immediate character reactions that underscore the significance of the revelation.
• The film's final surprise, the shift to the focus group argument, could be more effectively tied to the overarching themes of political division and discourse. Perhaps a more direct link between the focus group's arguments and Cheney's legacy or the ongoing impact of his policies would make the surprise feel more thematically resonant.

Questions for AI

• How can the screenplay ensure that surprising tonal shifts, like the jump to 9/11, are integrated thematically and don't feel solely like shock tactics?
• In moments of satirical surprise, like the 'wigs on penises' metaphor, how can the screenplay strengthen the thematic relevance to prevent the surprise from feeling gratuitous?
• What subtle narrative cues could be implemented to make surprising plot devices, such as the narrator's death or unexpected political alliances, feel more earned and less random?
• How can the screenplay balance surprising revelations about political power with the audience's emotional investment in the characters and their journeys?
• In the film's conclusion, how can the final surprise be utilized to provide a lasting thematic impact rather than just being an abrupt narrative ending?

Executive Summary

Empathy in "Vice" is often complex and deliberately challenged. While the screenplay effectively evokes empathy for characters facing personal struggles (Lynne's fear, Mary's identity crisis) and for the victims of political decisions (Iraqi civilians, soldiers), it intentionally complicates audience empathy for Dick Cheney himself. His actions are consistently framed critically, making direct emotional connection difficult, thus forcing a more intellectual and analytical engagement with his character rather than a purely sympathetic one.

Usage Analysis

• Sequence 4 fosters strong empathy for Lynne, as her past trauma and fear of repeating her mother's life are vividly portrayed, making her ultimatum to Dick deeply understandable and evoking significant sympathy.
• Sequence 8 elicits empathy for Lynne's profound grief and shock over her mother Edna's drowning, highlighting the personal tragedy and the lack of closure.
• Sequence 13 generates considerable empathy for Mary Cheney, first due to her car accident and then her courageous but vulnerable revelation of her sexuality, especially within the context of her parents' political ambitions.
• Sequence 16 uses flashbacks to past family hardships to provide context, fostering a degree of empathy for the shared history and struggles between Dick and Lynne.
• Sequence 24 evokes empathy for Lynne's distress during the 9/11 attacks and her insistence on going to the White House, grounding the national crisis in immediate personal fear.
• Sequence 25, while terrifying, allows a glimpse of fear in Cheney's eyes, potentially fostering a sliver of human empathy by revealing his vulnerability to the immense threats.
• Sequence 29 evokes sympathy for Colin Powell's ethical dilemma and his struggle to present intelligence he knows to be questionable, highlighting the pressure and compromise faced by those with moral reservations.
• Sequence 30 generates strong empathy for the innocent Iraqi family caught in the crossfire of war, their terror palpable during the cruise missile strike.
• Sequence 31 offers sympathy for the soldiers fighting in Iraq and the immense personal cost of the war, particularly through the depiction of the young soldier's tragic death.
• Sequence 34 evokes empathy for Liz Cheney's despair and Mary's distress over political attacks and familial conflict, highlighting the personal toll of ambition.
• Sequence 35's inclusion of Cheney's emotional appeal about protecting families, while framed as justification, can evoke a complex, conflicted empathy for his perceived motivations.
• Sequence 36's portrayal of the focus group's breakdown into insults and a fight elicits empathy for those attempting civil discourse amidst extreme polarization.

Critique

• The screenplay excels at generating empathy for characters who are victims of political actions or personal struggles, such as Lynne, Mary, and the civilians in Iraq. This is achieved through intimate portrayals of their pain and vulnerability.
• Empathy for Dick Cheney himself is deliberately complicated. While moments of personal vulnerability (health crises, fear during 9/11 briefings) can evoke a humanizing empathy, his consistent critical framing and ruthless actions prevent straightforward sympathy, forcing a more analytical engagement.
• The film effectively uses contrasts to shape audience empathy. For instance, the profound grief of Lynne over her mother's death (Sequence 8) is juxtaposed with Cheney's pragmatic approach to seizing political opportunity, highlighting the diverging emotional responses to similar life events.
• The screenplay's success in eliciting empathy for the victims of war and political decisions is a critical component of its commentary, making the audience feel the human cost of the policies enacted.
• The deliberate challenge to direct empathy for Cheney's political persona is a narrative strength, encouraging the audience to critically examine his actions and motivations rather than passively sympathize with him. This makes the overall emotional experience more thought-provoking.

Suggestions

• In moments where Cheney displays personal vulnerability (e.g., health crises in Sequences 11, 33, or his fear during intelligence briefings in Sequence 25), consider interweaving subtle visual callbacks to the consequences of his actions. This would create a more complex empathetic conflict for the audience, contrasting his personal struggles with the suffering he has inflicted, thus enhancing the nuanced empathy.
• When depicting the manipulation of intelligence for war (Sequence 29), while Powell's ethical struggle evokes empathy, consider a brief scene showing a lower-level analyst's internal conflict or distress upon realizing their work is being misused. This would broaden the scope of empathetic engagement beyond prominent figures.
• In portraying the impact of the Iraq war (Sequences 30, 31), while the imagery is stark, consider a more intimate portrayal of a single Iraqi family's long-term struggles or displacement. This would foster deeper, more specific empathy rather than a generalized sense of suffering, making the human cost more tangible.
• The strong familial empathy (Sequences 4, 13, 14, 34) could be further enhanced by showing direct, albeit silent, expressions of disappointment or sadness from his family when faced with his political compromises (e.g., Mary's reaction to the push polling in Sequence 34). This would elicit empathy for their position within his ambitious framework.
• In Cheney's final interview (Sequence 35), while he justifies his actions, subtly incorporating a visual cue that suggests a flicker of regret or acknowledgment of the loss he has caused could make his pronouncements less absolute and open the door for a more complex, albeit still conflicted, empathetic response from the audience.

Questions for AI

• How can the screenplay better integrate the audience's empathy for Cheney's personal struggles with their critical view of his political actions, fostering a more nuanced emotional response?
• In scenes depicting victims of war or political decisions, how can the narrative ensure that empathy is directed towards specific, relatable individuals rather than remaining generalized?
• Are there opportunities to explore the empathy (or lack thereof) of Cheney's advisors and colleagues towards the consequences of their actions, thereby widening the scope of empathetic engagement?
• How can the screenplay leverage the audience's existing knowledge of historical events to amplify empathy for the individuals who were directly impacted by Cheney's policies and decisions?
• In the film's conclusion, how can the final moments be structured to leave the audience with a lingering sense of complex empathy, rather than a simple judgment, for the characters and their legacies?

Executive Summary

Sadness is a pervasive undercurrent in "Vice," arising from personal loss (Edna's drowning), the disillusionment of political compromise, and the profound human cost of war. The screenplay effectively uses sadness to underscore the tragic consequences of ambition and the moral decay that can accompany the pursuit of power. The film's depiction of societal division and the erosion of ethical standards contributes to a deep sense of melancholy and sorrow, particularly in its latter half.

Usage Analysis

• Sequence 4 evokes sadness through Lynne's deep-seated fear of repeating her mother's unhappy domestic life, highlighted by the flashback to her father's abusive behavior, underscoring the lasting trauma of past suffering.
• Sequence 8 powerfully conveys grief through Lynne's shock and grief over her mother Edna's drowning, emphasizing the tragedy and the unresolved questions surrounding the death. The funeral scene underscores the sadness of loss.
• Sequence 25, filled with terrifying descriptions of potential attacks, evokes profound sadness and despair about the future. Cheney's visible fear contributes to this somber atmosphere.
• Sequences 26 and 27 are saturated with sadness derived from moral despair and disillusionment caused by the justification and depiction of torture and the erosion of legal and ethical norms.
• Sequence 29, detailing the manipulation of intelligence and pressure on Colin Powell, engenders moral sorrow and sadness for the human cost of war and the compromised decision-making process.
• Sequence 30, depicting the Iraqi family's terror and the cruise missile strike, evokes deep grief for the innocent lives lost and the suffering inflicted by the war.
• Sequence 31 highlights sadness through graphic imagery of burning bodies, the death of a young soldier, and the overall sense of ongoing conflict, leading to disillusionment with leadership.
• Sequence 33 conveys deep melancholy and grief through Cheney's health crisis, the narrator's bitter death and sacrifice, and the lingering questions about accountability and the human toll of past decisions.
• Sequence 34's depiction of Liz Cheney's despair and Mary's distress over political attacks and familial conflict evokes sadness over fractured relationships and the harsh realities of public life.
• Sequence 35 is deeply melancholic and sorrowful, presenting devastating statistics of the Iraq War, lost emails, and accessible torture memos, leading to profound disillusionment.
• Sequence 36's portrayal of the focus group's breakdown into insults and a fight evokes sadness about the failure of civil discourse and the deep societal divisions fostered by political polarization.

Critique

• The screenplay effectively uses sadness to underscore the tragic consequences of ambition and the pursuit of power. The grief over personal loss and the broader sorrow over the human cost of political decisions are consistently portrayed.
• The sadness derived from the erosion of ethical standards and legal principles (torture, surveillance justifications) is impactful, creating a sense of moral despair and disillusionment.
• The film masterfully contrasts moments of political triumph with underlying currents of sadness. Cheney's rise is often juxtaposed with the sacrifices or questionable actions that enabled it, leading to a bittersweet feeling.
• The sadness evoked by the war in Iraq and its impact on civilians and soldiers is powerfully depicted, making the audience reflect on the true cost of political agendas.
• The consistent focus on darker aspects of power and negative consequences ensures that sadness is a pervasive and impactful emotion, contributing to the film's critical and analytical tone.

Suggestions

• In scenes of personal loss (e.g., Edna's drowning in Sequence 8, Mary's distress in Sequence 34), consider brief moments of quiet reflection or visual symbolism that allow the audience to absorb the sadness before moving on. This can enhance the emotional resonance.
• When detailing legal justifications for torture (Sequences 26-27), interspersing the detached discourse with brief, haunting images or sounds representing human suffering can amplify the sadness associated with these morally compromised decisions.
• To deepen the sense of sadness regarding war's consequences (Sequences 30, 31), consider more intimate portrayals of individual families' long-term struggles or displacement, moving beyond broader depictions of conflict to foster specific empathy and sorrow.
• In depicting societal divisions (Sequences 34, 36), contrast moments of genuine connection or hope that are subsequently broken by political machinations. This contrast can amplify the sadness of lost potential and fractured relationships.
• The ending, while somber, could potentially benefit from a more explicit connection between the current societal divisions and the historical actions of Cheney and his administration. This would solidify the lasting sadness tied to their legacy.

Questions for AI

• How can the screenplay better balance the depiction of immense political and societal sadness with moments of personal grief, ensuring both resonate deeply?
• In scenes detailing the erosion of legal and ethical standards, how can the 'sadness' of this moral decay be more viscerally conveyed beyond intellectual understanding?
• Are there opportunities to more directly contrast moments of political ambition with the 'sadness' of their human cost, amplifying the emotional impact?
• When depicting the consequences of war, how can the screenplay ensure the sadness evoked is not desensitizing but remains a powerful reminder of the human toll?
• How can the film's conclusion effectively link the resulting sadness to the core actions and legacy of Dick Cheney, creating a lasting emotional impact?

Executive Summary

Surprise is a significant element in "Vice," strategically employed through jarring tonal shifts, unexpected narrative devices, and shocking plot developments. From the abrupt cut to 9/11 and the outlandish 'wigs on penises' metaphor to the narrator's violent death and Cheney's resolute decisions, surprise is used to maintain audience engagement, challenge expectations, and satirize the absurdity and ruthlessness of the political landscape. While often effective, some surprises can feel overly theatrical or detached, requiring careful thematic integration.

Usage Analysis

• Sequence 1 uses surprise through the abrupt cut from young Dick's drunken driving to the 9/11 attacks, creating a jarring tonal and contextual shift.
• Sequence 9 employs surprise with Cheney's outlandish metaphorical proposal ('miniature wigs on our penises'), which is shockingly accepted by Ford and Kissinger, highlighting the absurd nature of political discourse.
• Sequence 16 offers a narrative surprise with the sudden shift to poetic, Shakespearean-esque dialogue between Dick and Lynne, unexpectedly revealing the depth of their shared ambition.
• Sequence 20 delivers a major narrative surprise with the narrator's sudden and violent death by car strike, recontextualizing the narrator's role and the film's meta-commentary.
• Sequence 10's explanation of the Unitary Executive Theory is surprising in its implications for unchecked presidential power, especially for those unfamiliar with the concept.
• The graphic depiction of torture in Sequence 26, presented as legally justified 'enhanced interrogation,' is shocking and unexpected in its normalization of state-sanctioned cruelty.
• Sequence 32's revelation of Cheney's order to 'leak it' regarding Valerie Plame's identity is a surprising and shocking act of political retribution.
• The connection drawn between the US 'hyping' of Zarqawi and the rise of ISIS in Sequence 32 is a surprising and impactful revelation about the unintended consequences of political strategy.
• Sequence 35's closing statistics and revelations about lost emails and accessible torture memos offer a surprising and disturbing postscript on the lingering impact and potential for future misuse of power.
• The final focus group scene (Sequence 36) ends with a surprising shift from intense political argument to a young woman's mundane comment about a movie, highlighting societal fragmentation.

Critique

• Surprise is effectively used to create memorable moments and challenge audience expectations, particularly through jarring tonal shifts and bold narrative choices. These elements keep the audience engaged and questioning.
• The film's satirical surprises, like the 'wigs on penises' metaphor, effectively lampoon the absurdity and ego within politics, making them thematically relevant.
• The narrator's unexpected death is a significant narrative surprise that redefines the film's structure and commentary, forcing a re-evaluation of the storytelling itself.
• Some surprising plot developments, like rapid political gains or legal reinterpretations, can feel overwhelming and might benefit from more deliberate pacing or clearer emotional grounding.
• The screenplay's willingness to employ bold, unexpected narrative choices contributes to its distinct style, ensuring the audience remains engaged and provoked.

Suggestions

• In sequences with abrupt tonal shifts (e.g., Sequence 1's cut to 9/11), consider slightly longer transitional moments or thematic connective tissue to ensure the surprise feels deliberate and impactful rather than disorienting. A subtle visual motif could link the scenes.
• For satirical surprises (e.g., Sequence 9's 'wigs on penises'), ensure the dialogue and performances maintain a consistent tone to land the absurdity effectively, linking the surprise thematically rather than just relying on shock value.
• The narrator's death (Sequence 20) could be enhanced by subtly foreshadowing the narrator's connection to events throughout the film, making the surprise feel more earned and less random.
• In moments of surprise regarding political maneuvering or legal concepts (e.g., Unitary Executive Theory in Sequence 10), consider more visually dynamic ways to convey the implications, perhaps through graphics or immediate character reactions that underscore the surprise's significance.
• The film's ending, with the shift to the focus group argument (Sequence 36), could be more thematically tied to the preceding narrative. Directly linking the focus group's reactions to Cheney's legacy or the ongoing impact of political division would make the surprise more resonant.

Questions for AI

• How can the screenplay ensure that surprising tonal shifts, like the cut to 9/11, are thematically integrated and not merely shock tactics?
• In satirical surprises, how can thematic relevance be amplified to prevent them from feeling gratuitous?
• What subtle foreshadowing could make surprising narrative devices, like the narrator's death, feel more organically woven into the story?
• How can surprising revelations about political power be balanced with the audience's emotional investment in characters?
• How can the final surprise in the film provide a lasting thematic impact rather than feeling abrupt?

Executive Summary

Empathy in "Vice" is deliberately complex. While strongly evoked for victims of political actions and personal struggles (Lynne's fear, Mary's identity), empathy for Dick Cheney himself is challenged. The screenplay critically frames his actions, preventing straightforward sympathy and prompting a more analytical engagement. This nuanced approach forces the audience to confront difficult ethical questions rather than simply connecting emotionally with Cheney.

Usage Analysis

• Sequence 4 strongly evokes empathy for Lynne's past trauma and fear of repeating her mother's life, making her ultimatum deeply understandable.
• Sequence 8 elicits empathy for Lynne's grief and shock over her mother's drowning, emphasizing the personal tragedy.
• Sequence 13 generates considerable empathy for Mary Cheney's vulnerability during her accident and her courageous revelation of her sexuality.
• Sequence 16 uses flashbacks to past family hardships to foster empathy for the shared history and struggles between Dick and Lynne.
• Sequence 24 evokes empathy for Lynne's distress during 9/11 and her insistence on going to the White House.
• Sequence 25 shows a glimpse of fear in Cheney's eyes, potentially fostering a sliver of human empathy by revealing his vulnerability.
• Sequence 29 evokes sympathy for Colin Powell's ethical dilemma and his struggle to present questionable intelligence.
• Sequence 30 generates strong empathy for the innocent Iraqi family experiencing terror during the cruise missile strike.
• Sequence 31 offers sympathy for soldiers fighting in Iraq and the personal cost of war, particularly through the depiction of a young soldier's death.
• Sequence 34 evokes empathy for Liz Cheney's despair and Mary's distress over political attacks and familial conflict.
• Sequence 35's inclusion of Cheney's emotional appeal about protecting families can evoke a complex, conflicted empathy for his perceived motivations.
• Sequence 36's portrayal of the focus group's breakdown elicits empathy for those attempting civil discourse amid polarization.

Critique

• The screenplay effectively generates empathy for victims of political actions and personal struggles through intimate portrayals of vulnerability.
• Empathy for Cheney is intentionally complicated by critical framing of his actions, prompting analytical engagement over simple sympathy.
• The film uses contrasts to shape empathy; for instance, contrasting Lynne's grief with Cheney's pragmatism highlights diverging emotional responses.
• The success in eliciting empathy for war victims underscores the film's commentary on the human cost of political decisions.
• The deliberate challenge to direct empathy for Cheney is a narrative strength, encouraging critical examination of his motives and actions.

Suggestions

• In scenes of Cheney's vulnerability (health crises, fear), subtly interweave visual callbacks to the consequences of his actions to create a more complex empathetic conflict, contrasting his struggle with the suffering he caused.
• In depicting intelligence manipulation (Sequence 29), show lower-level analysts' distress about misused work, broadening empathetic engagement beyond prominent figures.
• For Iraq war impacts (Sequences 30, 31), include intimate portrayals of individual families' long-term struggles to foster specific empathy beyond generalized suffering.
• Strengthen familial empathy (Sequences 4, 13, 14, 34) by showing direct, silent expressions of disappointment from his family regarding his political compromises.
• In Cheney's final interview (Sequence 35), a subtle visual cue suggesting regret or acknowledgment of loss could foster more complex empathy, even if outwardly unrepentant.

Questions for AI

• How can the screenplay better connect empathy for Cheney's personal struggles with the audience's critical view of his political actions?
• In depicting victims, how can empathy be directed towards specific individuals rather than remaining generalized?
• Are there opportunities to explore the empathy of Cheney's advisors towards the consequences of their actions?
• How can existing historical knowledge amplify empathy for those impacted by Cheney's policies?
• How can the film's ending foster complex empathy rather than simple judgment?

Executive Summary

Sadness pervades "Vice," stemming from personal loss, disillusionment with political compromise, and the human cost of war. The screenplay effectively uses sadness to underscore the tragic consequences of ambition and the moral decay that can accompany power. The film's portrayal of societal division and ethical erosion contributes to a pervasive melancholy and sorrow.

Usage Analysis

• Sequence 4 portrays sadness through Lynne's fear of repeating her mother's domestic suffering, with flashbacks to past trauma.
• Sequence 8 conveys deep grief through Lynne's shock at her mother's drowning and the unresolved questions surrounding it.
• Sequence 25 evokes sadness through descriptions of potential catastrophic attacks, creating dread and despair about the future.
• Sequences 26 and 27 are saturated with sadness due to moral despair from the justification of torture and the erosion of legal norms.
• Sequence 29 generates moral sorrow regarding the manipulation of intelligence and pressure on Colin Powell, highlighting the human cost of war.
• Sequence 30 evokes grief for innocent Iraqi lives lost due to the cruise missile strike.
• Sequence 31 highlights sadness through graphic war imagery and the death of a young soldier, leading to disillusionment.
• Sequence 33 conveys melancholy and grief through Cheney's health crisis, the narrator's death, and lingering questions of accountability.
• Sequence 34 depicts sadness in Liz Cheney's despair and Mary's distress over political attacks and familial conflict.
• Sequence 35 is deeply melancholic, presenting war statistics, lost emails, and accessible torture memos, leading to profound disillusionment.
• Sequence 36 evokes sadness about the breakdown of civil discourse and societal divisions in the focus group scene.

Critique

• The screenplay effectively uses sadness to highlight the tragic consequences of ambition and the human cost of political decisions.
• The sadness derived from the erosion of ethical standards and legal principles is impactful, creating moral despair and disillusionment.
• The film contrasts political triumphs with underlying sadness, making the sacrifices and questionable actions more poignant.
• The portrayal of war's consequences evokes sadness by making the audience reflect on the true cost of political agendas.
• The consistent focus on darker aspects of power ensures sadness is pervasive and contributes to the film's critical tone.

Suggestions

• In scenes of personal loss (Sequences 8, 34), brief moments of quiet reflection or visual symbolism can allow the audience to absorb the sadness more deeply.
• When detailing legal justifications for torture (Sequences 26-27), interspersing detached discourse with haunting images of human suffering can amplify the sadness.
• For war consequences (Sequences 30, 31), intimate portrayals of individual families' struggles can foster specific empathy and sorrow beyond generalized suffering.
• Contrasting moments of political ambition with their subsequent 'sadness' can amplify the emotional impact, highlighting sacrifices and compromises.
• The ending could more explicitly link current societal divisions and sadness to Cheney's historical actions, solidifying the legacy's sorrowful impact.

Questions for AI

• How can the screenplay better balance political and personal sadness to resonate deeply with the audience?
• In scenes of ethical erosion, how can the 'sadness' be conveyed more viscerally beyond intellectual understanding?
• Are there ways to contrast political ambition with its 'sadness' to amplify emotional impact?
• How can the portrayal of war's consequences ensure sadness is impactful and not desensitizing?
• How can the ending effectively link current societal divisions and sadness to Cheney's legacy?

Executive Summary

Surprise is a key element in "Vice," used through jarring tonal shifts, unexpected narrative devices, and shocking plot revelations. From the abrupt cut to 9/11 and the 'wigs on penises' metaphor to the narrator's death and Cheney's resolute decisions, surprise keeps the audience engaged, challenges expectations, and satirizes political absurdity. While effective, some surprises verge on gratuitous and require careful thematic integration.

Usage Analysis

• Sequence 1 surprises with the abrupt cut from young Dick's drunken driving to 9/11, creating a jarring tonal shift.
• Sequence 9 employs surprise with Cheney's outlandish 'wigs on penises' proposal, shockingly accepted by Ford and Kissinger, highlighting political absurdity.
• Sequence 16 offers a narrative surprise with the sudden shift to poetic, Shakespearean-esque dialogue between Dick and Lynne, unexpectedly revealing shared ambition.
• Sequence 20 delivers a major narrative surprise with the narrator's sudden, violent death, recontextualizing the narrator's role and meta-commentary.
• Sequence 10's explanation of the Unitary Executive Theory is surprising in its implications for unchecked presidential power.
• The graphic depiction of torture in Sequence 26, presented as legally justified, is shocking and unexpected in its normalization of state cruelty.
• Sequence 32's revelation of Cheney's order to 'leak it' regarding Valerie Plame is a surprising act of political retribution.
• The connection between US 'hyping' of Zarqawi and ISIS's rise (Sequence 32) is a surprising revelation about unintended consequences.
• Sequence 35's closing statistics and revelations about lost emails and accessible torture memos offer a surprising postscript.
• The final focus group scene (Sequence 36) concludes with a surprising shift from political argument to a mundane comment, highlighting societal fragmentation.

Critique

• Surprise effectively creates memorable moments and challenges audience expectations, especially through tonal shifts and bold narrative choices.
• Satirical surprises, like the 'wigs on penises' metaphor, effectively lampoon political absurdity and ego, making them thematically relevant.
• The narrator's death is a significant surprise that redefines the film's structure and commentary, prompting re-evaluation.
• Some surprising plot developments can feel overwhelming and might benefit from more deliberate pacing or clearer emotional grounding.
• The film's willingness to employ bold narrative choices contributes to its distinct style and memorable moments.

Suggestions

• In sequences with abrupt tonal shifts (Sequence 1), consider longer transitions or thematic links to make the surprise deliberate rather than disorienting.
• For satirical surprises (Sequence 9), ensure consistent tone to land absurdity effectively and link it thematically.
• Subtle foreshadowing could make surprising plot devices (narrator's death) feel more earned and less random.
• Visually convey implications of surprising political or legal revelations (Sequence 10) dynamically, using graphics or character reactions.
• Connect the final surprise (Sequence 36) thematically to Cheney's legacy or political division for greater resonance.

Questions for AI

• How can surprising tonal shifts be integrated thematically and not just used as shock tactics?
• How can thematic relevance be amplified in satirical surprises to prevent them from feeling gratuitous?
• What subtle foreshadowing can make surprising plot devices feel more organically woven into the story?
• How can surprising revelations about political power be balanced with emotional investment in characters?
• How can the final surprise provide lasting thematic impact without feeling abrupt?

Executive Summary

Empathy in "Vice" is deliberately complex, effectively evoked for victims of political actions and personal struggles (Lynne's fear, Mary's identity). However, empathy for Dick Cheney himself is challenged. His actions are critically framed, preventing straightforward sympathy and prompting analytical engagement rather than pure emotional connection. This nuanced approach forces viewers to confront difficult ethical questions.

Usage Analysis

• Sequence 4 strongly evokes empathy for Lynne's past trauma and fear of repeating her mother's life, making her ultimatum understandable.
• Sequence 8 elicits empathy for Lynne's grief and shock over her mother's drowning, highlighting personal tragedy.
• Sequence 13 generates considerable empathy for Mary Cheney's vulnerability during her accident and her courageous revelation of her sexuality.
• Sequence 16 uses flashbacks to past family hardships to foster empathy for Dick and Lynne's shared history.
• Sequence 24 evokes empathy for Lynne's distress during 9/11 and her insistence on going to the White House.
• Sequence 25 shows a glimpse of fear in Cheney's eyes, potentially fostering human empathy by revealing his vulnerability.
• Sequence 29 evokes sympathy for Colin Powell's ethical dilemma and his struggle with questionable intelligence.
• Sequence 30 generates strong empathy for the innocent Iraqi family during the cruise missile strike.
• Sequence 31 offers sympathy for soldiers fighting in Iraq and the personal cost of war, especially a young soldier's death.
• Sequence 34 evokes empathy for Liz Cheney's despair and Mary's distress over political attacks and familial conflict.
• Sequence 35's inclusion of Cheney's appeal about protecting families can evoke complex, conflicted empathy for his perceived motivations.
• Sequence 36's portrayal of focus group breakdown elicits empathy for those attempting civil discourse amidst polarization.

Critique

• The screenplay effectively generates empathy for victims of political actions and personal struggles through intimate portrayals of vulnerability.
• Empathy for Cheney is intentionally complicated by critical framing of his actions, prompting analytical engagement over sympathy.
• The film uses contrasts to shape empathy; e.g., contrasting Lynne's grief with Cheney's pragmatism highlights diverging emotional responses.
• The success in eliciting empathy for war victims underscores the film's commentary on the human cost of political decisions.
• The deliberate challenge to direct empathy for Cheney is a narrative strength, encouraging critical examination of his motives.

Suggestions

• In scenes of Cheney's vulnerability (health crises, fear), subtly link to consequences of his actions to create complex empathy, contrasting his struggles with suffering he caused.
• When depicting intelligence manipulation (Sequence 29), show lower-level analysts' distress about misused work to broaden empathetic engagement.
• For Iraq war impacts (Sequences 30, 31), use intimate portrayals of individual families' struggles to foster specific empathy beyond generalized suffering.
• Strengthen familial empathy (Sequences 4, 13, 14, 34) with direct, silent expressions of disappointment from his family regarding political compromises.
• In Cheney's final interview (Sequence 35), a subtle visual cue suggesting regret or acknowledgment of loss could foster more complex empathy, even if outwardly unrepentant.

Questions for AI

• How can the screenplay better integrate empathy for Cheney's personal struggles with critical views of his actions?
• In depicting victims, how can empathy be directed toward specific individuals rather than generalized?
• Are there opportunities to explore the empathy of Cheney's advisors towards consequences of their actions?
• How can historical knowledge amplify empathy for those impacted by Cheney's policies?
• How can the film's ending foster complex empathy rather than simple judgment?