Short of George Lucas, nobody associated with Lucasfilm understands what makes Star Wars tick quite like Dave Filoni. Now, the creator behind Star Wars: The Clone Wars, Star Wars Rebels and Ahsoka will step into a new role as Chief Creative Officer.
“In the past, in a lot of projects I would be brought into it, I would see it after it had already developed a good ways,” said Filoni. His new role as CCO will change that and allow him to oversee Star Wars projects from the start. “In this new role, it’s opened up to basically everything that’s going on,” Filoni said. “When we’re planning the future of what we’re doing now, I’m involved at the inception phase.I’m not telling people what to do,” Filoni explained. “But I do feel I’m trying to help them tell the best story that they want to tell. I need to be a help across the galaxy here, like a part of a Jedi Council almost.”
Filoni is still expected to helm a New Republic-era film that will tie together the stories of Disney Plus series The Mandalorian, Ahsoka, The Book of Boba Fett and Skeleton Crew. He explained that his new role involves “understanding the intent of the filmmakers and being a resource to them.” After spending years working with Lucas and developing films, Filoni has established himself as a wise, old master of the galaxy far, far away. “Literally, hours now of Star Wars storytelling I have done,” he said. “See…I even phrased that like Yoda.”
Filoni hopes those hours–numbered no doubt in the hundreds–will allow him to make a major difference with the filmmakers Lucasfilm brings on to continue telling Star Wars stories. “To truly help filmmakers, it was really important for me to experience it firsthand,” he said. “I can also lend a perspective on the challenges that telling these stories will present. I feel more capable of actually being helpful outside of just saying, ‘Well, Jedi are like this, and Sith are like this…” As challenging as Star Wars fandom can be, Filoni’s experience will allow him to be a Wayfinder for future storytellers.
Marvel Studios is trying something all-new and all-different with the second season of their first canonical animated adventure, What If…?, by switching up their long-standing release strategy. Starting December 22nd, fans will be able to tune into one multiversal adventure per day for nine days and, as seen in the first trailer for the project, will be meeting an interesting variant Avengers team.
The trailer comes out swinging by introducing fans to an alternate universe where a very powered-up Peter Quill in what, based on Quill’s age, is either set in the late 1980s or early 1990s. The young Quill Variant, who based on the use of his powers, seems to have spent some time with his father, Ego, draws the attention of S.H.I.E.LD., run by Peggy Carter and Howard Stark, who send a very interesting team of Avengers to deal with the boy.
As revealed over several scenes from the trailer, Quill is met by Bucky Barnes, Mar-Vell, Hank Pym/Ant-Man, Bill Foster/Goliath, King T’Chaka/Black Panther and Thor. The team is quite time-appropriate given what we know about the Sacred Timeline, though the inclusion of T’Chaka and Mar-Vell is very interesting given the relative anonymity of their alter egos in the 616 multiverse. Avengers Assemble!
Marvel Studios’ strategy of utilizing Marvel Spotlight to create a distinction between their films and TV shows is continuing to move forward. The upcoming Wonder Man series is seemingly still alive after many rumors hinted it might be canceled. The series starring Yahya Abdul-Mateen II will now be under the new banner that highlights that this is an additional story part of the MCU but not something relevant to the major ongoing narrative.
We still know very little about the project but it did start production before the writer’s strike led to the production shutting down. Shang-Chi director Destin DanielCretton is set to direct the first two episodes and is acting as an executive producer on the Disney+ series. It’s unclear if the intentions of this being a standalone project were there from the beginning or if it’s part of the new direction for the production studio.
The announcement is part of the big reveal that the director has left the upcoming Avengers project behind to put his focus on other projects with the studio. Of course, we don’t know what exactly he else might be working on but it does seem like a move to allow the director some more time to work on other projects rather than rush out everything and neglect the long-awaited Avengers film.
Some time ago, it was revealed that Marvel Studios is pulling back on the upcoming Disney+ series Daredevil: Born Again. They restarted the project with an actual showrunner in the form of former The Punisher’sDario Scardapane, who likely will bring his previous work to influence the series to be a bit closer to the version many are hoping to see revived from the original Netflix series.
That isn’t all, as Justin Benson and Aaron Moorehead, who have proven they are some of Marvel Studios’ best gets after Moon Knight and Loki Season 2, are also involved with the series. In an interview with The Wrap, they revealed that they have yet to start work on the project but are already diving deep into the franchise, comics, and Netflix series included.
It is day zero. We’re currently just consuming Daredevil content, not just the Netflix show but all the possible material. We’re just making our stew of information nice and thick.
Aaron Moorehead
They will be directing the remaining episodes from the series and it’ll be interesting to see if they have any involvement in getting the previous entries going as well. There’s a lot we don’t know about the adaptation just yet given that it’s taking a completely new direction. Very likely a bigger sign of Marvel Studios reshuffling their future releases.
The reinvention of the God of Lies is complete. With a thrilling and satisfying finale to the second season of Loki, Tom Hiddleston has roundly addressed critics’ concerns (including my own) about how much could possibly have been left in the tank for a character who had already done so much. Hiddleston’s dedication to the character, a fantastic creative team that was fully dedicated to some ridiculous sci-fi concepts and held fast to their vision and a deep cast combined to provide 12 incredible episodes of streaming television including an astounding season (and likely series) finale.
Though it won’t be the last time we see Loki, “Glorious Purpose” was a wonderfully fitting bookend to the entire series (you’ll recall that the first episode of the series was also entitled “Glorious Purpose”). Loki’s journey into mystery led him right back to where Season 1 ended and put him face to face once again with He Who Remains who, sort of unsurprisingly, revealed that every step of said journey–including his own “death” and all the crazy bits that went on in Season 2–where engineered by him. Having spent centuries trying to save every reality and totally recreating himself along the way, Loki’s refusal to take He Who Remains final offer as an answer leads him to make a choice that nobody, including himself, could have ever predicted. No longer the conqueror or mischief maker, Loki reanimates the dead branches of reality and sets himself about the endless task of giving life to others at the expense of his own freedom. Free will outside of the boundaries set by He Who Remains.
As a finale to a season and the series, the episode lands because it ties up so many of the series’ threads nearly as neatly as Loki ties together the branched timelines. Loki is the MCU’s longest experiment with longform narration to date and it’s a tall task for any writing room to keep everything together over the course of nearly 12 hours of a series. Thankfully despite series creator Michael Waldron moving on, the studio maintained continuity by handing the keys to the show to one of Season 1’s most key contributors, Eric Martin. Resultant of that, Season 2 picked up where Season 1 left off, took the audience on a wild romp and then dropped them right back off in a familiar place with the main character in a familiar predicament.
For as complicated as the sci-fi weirdness of the show seemed to be, in the end, Loki remained a fairly straightforward character study of one of the MCU’s greatest characters. And powered by one of the MCU’s greatest talents in Hiddleston, Loki became the warm light for all mankind to share. In that regard, Loki was more than just a series that maintained continuity over 12 episodes; it was a reverential ode to every beat that has made the character so popular since he first appeared in 2011’s Thor. In just about every way, Loki is the MCU’s “Breaking Good” full of all the things that make stories great. Perhaps, in his big chair at the end of time, this was a story written by the God of Stories himself.
As Loki nears the completion of its second season, it continues to stand as the nonpareil of what Marvel Studios television was initially intended to be and should endeavor to continue to be. Thanks in no small measure to the continued brilliance of Tom Hiddleston, the show continues, in modern parlance, to slap, slay and dish out weekly bangers. While it’s illogical, even preposterous, premise all but guarantees it’s not for everybody, Loki continues to embrace its place as a true sci-fi show and seems with each passing episode to submerge further into those depths. To that end, it’s no surprise that Season 2’s fifth episode, “Science/Fiction” turned out not only to be the most convoluted and nonsensical entry to date but also one of the series’ best and maybe one of Marvel Studios’ best episodic efforts.
As the penultimate episode of Season 2, “Science Fiction” does what penultimate episodes do. It makes real the consequences of the season’s ongoing concerns about the stability of the Temporal Loom which finally gave out in Episode 4’s cliffhanger. The destruction of the Loom, which refines raw time into the timelines where people live their lives, resulted in both the destruction of the TVA and, as revealed in Episode 5, the destruction of those timelines. When the Loom isn’t Looming, entire realities and their inhabitants are reduced to spaghetti, something that not even Sylvie, the colder-hearted Loki Variant, can abide. The loss of the Temporal Loom also puts Loki back in a familiar predicament as his time-slipping, thought to have been remedied in the season’s first episode, resumes albeit with an interesting twist as he bops about to different realities where familiar faces from the TVA are living their lives. By episode’s end and with the help of Ke Huy Quan’s A.D. Doug, PhD, Loki is empowered to control time-slipping, creates a bare-bones TVA and puts himself on the path to make an effort to save all of reality in the Season 2 finale. Job well done.
However, as part of Marvel’s longest longform episodic narrative to date, “Science/Fiction” serves as a linchpin not only for Season 2 but for the series as a whole. Season 2 head writer Eric Martin’s presence as a key contributor to Season 1 allowed for continuity of the creatives behind the series which means that the big ideas from the first six episodes are far from forgotten. Indeed, “Science/Fiction” may have just put Loki and Sylvie right in the same boat in which they found themselves when they met He Who Remains in the Citadel at the End of Time. In that meeting, He Who Remains offered the pair the power to be curators of the Sacred Timeline as his replacement as the man behind the curtain of the TVA. By assembling an all-new, all-different team and learning to slip time at will, Loki has put himself in position to prevent the destruction of the TVA (man, the time wimey stuff here is so fun–and painful–to think through) and, with no leadership left to speak of, take control. Take a bow, Al Ewing, as Loki is about to become the God of Stories.
There is, however, one fairly large question left to ponder as we wait for Episode 6: is Loki really writing this or any other story? Should Loki end up in charge of the TVA, isn’t that right where He Who Remains wanted him? Of course, as the God of Stories, Loki may somehow find a way to use Victor Timely’s Multiplier to allow the newly branched timelines to continue on but if not, if the decision is made keep all of reality intact by refining time back into the Sacred Timeline, won’t He Who Remains have accomplished exactly what he wanted? While he’s not the most trustworthy narrator, He Who Remains made it very clear that he was the architect of Loki’s existence and it was through his machinations that Loki ended up in the Citadel in the first place. As this Variant of Loki who has come so far on his road to redemption finally finds himself on the precipice of becoming the hero of all time, always, would Marvel Studios dare take his agency from him and reveal that he’s simply been He Who Remains marionette all along? With one episode left to go, it looks like we’ll all find out together just how much of this story has truly been written for Loki and how much has been written by him.
Was only a question of time but it looks like Disney is dead set on owning Hulu 100% moving forward. It has been announced that they are set to purchase the remaining 33% stake for around $8.61 billion from Comcast. The following statement has been shared on why they are now invested in getting their hands on the rest of that streaming service.
The acquisition of Comcast’s stake in Hulu at fair market value will further Disney’s streaming objectives.
It’s unclear what exactly their streaming objectives are and if moving forward Hulu and Disney+ will become a more united streaming service, but it seems Disney has some plans to at least counteract the continued drop in linear TV viewership. As much as people are discussing the streaming wars, TV as we know it is still dying with viewership dropping steadily over the last few years.
So, we might see a major shake-up in the streaming market moving forward as everyone is ensuring they have the equity stake in the various platforms to ensure long-term investments. We will see if a new disruptor might pop up in the coming years but for now: streaming is here to stay.
There are many discussions surrounding what is going on with Marvel. While some believe they have lost their edge, it’s hard to deny (even if the web tries) that recent events shook the entire industry in an unprecedented way. What seemed like a straight-forward march into 2020 ended up derailing an entire industry for years to come. As such, costs were exploding beyond what you’d usually see with shows, especially in a streaming war to produce the best “content” possible (even if that wording has soured quite a bit in the industry).
She-Hulk, Attorney at Law was one of the shows that seemingly suffered, as in a new Variety report they claim that a single episode would end up being more expensive than even the final episodes of Game of Thrones. However, it’s not surprising given just how big Marvel was that they’d invest heavily to promote the streamer as much as possible, especially with a purely CG character as part of the cast and we know that Marvel has a bad habit of generally reshooting many sequences leading to more CG work.
It definitely isn’t a good sign if their costs continue to pile up and who knows if the current strikes also affected the 2024 releases. We may not know until next year, but it wasn’t a secret that the Disney+ shows cost a pretty penny, especially grounded shows like Secret Invasion saw its costs balloon during production in recent reports.
Marvel Studios wasn’t quite prepared to start a new venture like long-form storytelling and then getting hit by a pandemic that completely threw everyone off. We’re still feeling the aftermath of that time as it was still just under a year ago that we were living it. Now, we are also facing strikes that are redefining the entire industry, at this point while Marvel is certainly facing shaky grounds, it’s not something that seems specific to them looking at how few films performed in 2023.
It’s been a wild ride for Disney+ and Marvel Studios. Now that the WGA regulations are in place based on the new deal, the studio’s head writer concept has been scrapped to return to a more traditional showrunner method. The Punisher’sDario Scardapane is seemingly taking over as showrunner for the Daredevil: Born Again series (uncertain if that name will remain) and is joined by the directing duo of Justin Benson and Aaron Moorhead, who are making quite a name for themselves with their work on the Loki Season 2 episodes that are getting quite a bit of social media attention.
The series was filmed in New York but after it was paused due to the strikes, it seemed that Marvel Studios wasn’t quite satisfied with what they got and original head writers Matt Corman and Chris Ord left the project. Given the character’s history with the Netflix series considered one of the best adaptations, it’s no surprise that they are trying to make sure that this one truly sticks the landing. Benson and Moorhead are attached to direct the new episodes to finish out the first season but no one knows how much they will overhaul the entire show.
It seems that the iconic Disney cartoon from the 1990s is making its way to Disney+ once more, but this time as a live-action series. According to The Hollywood Reporter, Gary Dauberman and James Wan’s Atomic Monster is set to help develop the series based on the iconic series that featured, you guessed it, Gargoyles living in modern-day facing unlikely enemies. It’s in early development and it seems Wan alongside Michael Clear is attached to executive produce while Dauberman will act as showrunner and writer on the series. This also signifies the WGA contract moving Disney+ away from their head writer experiment.
Gargoyles ran for three seasons between 1994 to 1997, which saw a bunch of gargoyles end up in modern-day New York. They are released from a thousand-year curse and end up becoming the protectors of the city at night, as they are but simple statues during the day. Greg Weisman originally created the series and it became an iconic part of 90s’ cartoon culture alongside X-Men: The Animated Series and Batman: The Animated Series with is more adult themes.
It seems that Disney considered an adaptation back in 2010 but after the flop of The Sorcerer’s Apprentice, they did not move along anymore. Dauberman is a big get given his success with horror franchise Annabelle and his involvement with The Conjuring. He also made his directorial debut with Annabelle Comes Home, which opens up the possibility that he’ll also act as director on the series in some format, but that has not been confirmed in any way.
We use cookies to improve your experience on our site. By using our site, you consent to cookies.
This website uses cookies
Websites store cookies to enhance functionality and personalise your experience. You can manage your preferences, but blocking some cookies may impact site performance and services.
Essential cookies enable basic functions and are necessary for the proper function of the website.
Name
Description
Duration
Cookie Preferences
This cookie is used to store the user's cookie consent preferences.
30 days
These cookies are needed for adding comments on this website.
Name
Description
Duration
comment_author_email
Used to track the user across multiple sessions.
Session
comment_author_url
Used to track the user across multiple sessions.
Session
comment_author
Used to track the user across multiple sessions.
Session
Statistics cookies collect information anonymously. This information helps us understand how visitors use our website.
Google Analytics is a powerful tool that tracks and analyzes website traffic for informed marketing decisions.
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
__utma
ID used to identify users and sessions
2 years after last activity
__utmt
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
Marketing cookies are used to follow visitors to websites. The intention is to show ads that are relevant and engaging to the individual user.
Pinterest Tag is a web analytics service that tracks and reports website traffic.
