Re: Fatal Flaw?
Yes, but - and I say this with all kindness and no snark at all - using this theory, two days ago you thought that the Emperor and Sauron were the protagonists of their respective movies. It turns out you were misunderstanding... but honestly, the theory is so complicated that I know why.
And you're right - all of those movies referenced weren't written using the method. And, all of those same movies can also be broken down and shown to fit the hero's journey, and the Dramatica method, and the Save The Cat, and the Sequencing Method, and the Billy Bob's ScriptSecret theory and and and...
(Just like one country used to look at a group of stars and see a turtle, another country would see a lion, and another one would see a sandwich. They were all certain they were right, but none of them were any closer to understanding what stars were.)
Which is why I think, at the end of the day, you need to put highly specific structural theories aside and write your movie. Movies have three acts. A beginning, a middle and an end. They have to have a compelling concept at their core. They have to hold your interest all the way through. You have to have a character you're rooting for the whole time. You have to make it seem impossible for that character to succeed. You have to cleverly have them win.
Worrying about combing the Trickster with the Antipodal Shapeshifter with the Thematic Crunch and making sure they all beat the Clock of Reveal is going to take you way off track, IMO.