#producers kathleen kennedy

[jonberry555]

Indiana Jones and the Dial of Destiny REVIEW

My review of the fifth and latest Indiana Jones Film: Indiana Jones and the Dial of Destiny.

Indiana Jones and the Dial of Destiny is Directed by James Mangold; Written by Jez Butterworth, John-Henry Butterworth, David Koepp, & James Mangold; Based on Characters by George Lucas & Philip Kaufman; Produced by Kathleen Kennedy, Frank Marshall, & Simon Emanuel; Starring Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, Ethann Isidore, Mads Mikkelsen; Cinematography by Phedon Papamichael; Edited by Michael McCusker, Andrew Buckland, & Dirk Westervel; and Music by John Williams. Production companies: Walt Disney Pictures and Lucasfilm Ltd. Distributed by Walt Disney Studios Motion Pictures.

[timaeuslover001]

I think Kathleen gets TOO much hate because we all know in Hollywood The Only people who have a say on what makes it to film production and release is PRODUCERS AND BACKERS!

Hollywood is funded by bankers and Producers who head studios! They’re the only ones who get to approve any script any decision made by any director or even head of a franchise.

Kathleen is a Puppet for their mouthpiece! Brit he other way around.

She’s a mindless drone there for the check.

she aint a hero FOR SURE but she is for SURE only there because she's a willing PUPPET for Hollywood.

She has no talent , no standards, no ideas outside of why producers tell her to produce .

[vintagegeekculture]

One detail in the worldbuilding of Back to the Future Part II (1989) that is often overlooked: the police department of Hill Valley in 2015 seems to be made up of statuesque women. And no, it wasn't just the two cops that found Jennifer on a bench and took her home; every time we see a police officer in the background of Hill Valley 2015, they were female.

This was a prediction that did not come true: women only make up 12% of all police officers in the United States today.

However, I can see what they were thinking with this. Consider that it was extremely rare to have female police officers in American cities before the 1970s. So, anticipating the entrance of women into police work, Bob Gale and Zemeckis might have foresaw a future where women make up half of all police officers, or even a majority. There are many examples of professions that were once majority male but over time, became majority female, like primary school teachers and pharmacists. In some countries, like Russia and Cuba, the majority of medical doctors are women, for example. Gender-based shifts in professions happen all the time.

The novelization of Back to the Future Part II gives a bit more information. According to the book, police departments in 2015 are majority women because it was believed by city governments that women's nurturing nature made them more likely to be caring, and less likely to be violent or brutal.

Fun fact: the woman who played the blonde cop was Mary Ellen Trainor, Robert Zemeckis's wife, best known as the only person to ever be in both The Goonies and Monster Squad, and she played a Mom both times. Mary Ellen Trainor also introduced her husband's friend, Spielberg, to her best friend, Kathleen Kennedy, who became Spielberg's most frequent producer-collaborator (Kennedy produced E.T. and the Back to the Future movies).

[kylanfedje]

Disney Star Wars Retrospective - Episode I: The Phantom Mouse

A long time ago, in a conference room far, far away....

They say the pen is mightier than the sword. Or is it the lightsaber? On October 30, 2012, a few strokes of ink were all it took for one of the most lucrative media enterprises of all time to be subsumed into arguably the largest entertainment empire in history. I am talking of course about the $4.5 billion sale of Lucasfilm to the Walt Disney Company, which brought iconic film franchises like Indiana Jones and Star Wars under the ever-expanding Disney umbrella of intellectual properties.

While Indiana Jones has been no box-office slouch, George Lucas’ epic space fantasy saga was the real prize in the transaction. And the new regime at Lucasfilm, headed by Kathleen Kennedy, longtime movie producer and frequent collaborator of Steven Spielberg’s, could hardly wait for the dust to settle before greenlighting a series of moves that would define the franchise for the decade to come.

Shortly after the purchase was announced, so too were a new trio of Star Wars films set after the Original Trilogy, which would pick up the stories of Luke Skywalker, Leia Organa, Han Solo, and a host of new characters as they sought to protect the galaxy against a resurgent evil, seeking to destroy the peace brought by the establishment of a New Galactic Republic. Additionally, the company also announced plans for a series of anthology films, which were to release between the latest installments in the Sequel Trilogy. However, to compensate for the number of resources devoted to such an ambitious film schedule, the fan-favorite Star Wars: The Clone Wars series, which had aired five seasons on Cartoon Network since 2008, would come to an end. Alongside these announcements was also the confirmation that the Expanded Universe (EU) material, the books and comics that had filled out so much of the galaxy’s lore before, between, and after the films, was no longer considered canon for the purposes of new Star Wars projects and would be reclassified as “Legends.”

Many of the creatives behind The Clone Wars continued onto Rebels, including showrunner Dave Filoni, and as a result, many storylines and characters from the former were brought into the latter in one way or another. Fan favorites like Captain Rex and Hondo Ohnaka would return, as well as lesser-known ones like Saw Gerrera and Bo-Katan Kryze would appear, though rarely for more than a few episodes at a time at most. But easily the most prevalent of The Clone Wars originals to join the cast of Rebels was the one and only Ahsoka Tano, the former Padawan of Anakin Skywalker who, after being falsely accused of bombing the Jedi Temple on Coruscant and murdering a witness to cover it up, decided to walk away from the Order, even after she was exonerated on all charges. Since The Clone Wars hadn’t reached its natural endpoint of the Jedi Purge (commonly known as Order 66) before its untimely cancellation, fans were left wondering what fate may have befallen their favorite ex-Jedi at that critical moment in Star Wars lore. Now, they would at least know she had survived Emperor Palpatine’s directive to rid the galaxy of the greatest threat to his power, even if the specifics of how she’d done so were left unsaid at the time.

However, Rebels was hardly a direct successor to The Clone Wars in terms of its general tone and art direction, both of which were noticeably altered from the relatively mature and moody atmosphere of its predecessor, particularly its later seasons — though Rebels would eventually reach similar levels of emotional and thematic intensity as The Clone Wars had by the end of its run. But while the lighter tone of Rebels can be easily attributed to a desire by the franchise’s new overlords to keep the franchise more in line with Disney’s “family friendly” brand ethos, the change in art direction is more indicative of a broader trend within the franchise that began in this time and arguably persists to this day, which is an almost compulsive reverence for the Original Trilogy and its iconography.

It’s no secret to anyone familiar with the history of cinema that the Star Wars prequels were not very well-received upon their initial release, though they have received a critical reappraisal by fans in recent years. Either way, when Lucasfilm went to work on their new slate of Star Wars projects in 2013, the general consensus was still that the Prequel Trilogy was a collection of overly ambitious and poorly executed disasterpieces, a fact they were like well aware of and would make them want to avoid whatever associations with it they could when developing new material. This might also help to explain why The Clone Wars, a series set in the midst of the trilogy, was cancelled so unceremoniously at the time, with only a 13-episode sixth season released straight to Netflix, a handful of unfinished animatics dumped on the Star Wars website, and other unproduced story arcs being adapted into quasicanonical books and comics to fill the void left in its wake.

What this represents is a desire among the creative minds behind the franchise towards inserting Original Trilogy “fan service” into their work. The style of Ralph McQuarrie’s concept art, while critical in shaping the visual language of Star Wars, is in truth only recognizable as such to the most die-hard of fans and thus provides no more — or less — value to the average viewer, and therefore can be seen as a decision made primarily to cater towards the superfans while not alienating newer or less knowledgeable ones. Likewise, the series’ (re)introduction of Grand Admiral Thrawn in the third season can easily be understood as yet another case of this phenomenon, albeit in a slightly different manner.

The character of Thrawn was first created for Timothy Zahn’s Heir to the Empire trilogy of novels, a core component of the EU/Legends canon written in the early 90s during that time when Star Wars was mostly seen as “uncool nerd shit” to the general public. But for the fans who grew up reading and loving these books, they may have felt hurt and betrayed when Disney came in and told them these stories were no longer canon. So, when Thrawn reappeared in Rebels with the same character design and personality as he had in the novels, it signaled to them that the franchise was still willing to look to the EU/Legends for inspiration and would even draw directly from them, thus rewarding their continued devotion to the franchise’s extended lore.

That’s not to say that casual fans were necessarily turned off by this either. If anything, because the Heir to the Empire novels were no longer canon, it was easier for them to only see Thrawn as the version that appeared in Rebels and therefore discard the ancillary material as unnecessary to understanding who he was, where he came from, and what he wanted. Those novels still existed if they wanted to dive deeper, but it was ultimately inessential to following the show’s plot, and thus wouldn’t make newer or more casual fans feel like they had “homework” to do before they could start enjoying the franchise’s current marquee offerings.

In a similar vein to Thrawn’s role in the series is that of Darth Maul, the failed apprentice to Darth Sidious who somehow survived being sliced in half by Obi-wan Kenobi during a duel on Naboo in The Phantom Menace. It could have — and probably should have — been a disaster class in fan service when he was brought back in The Clone Wars, but to the show’s credit, it went to great lengths to make it work both narratively and thematically. It presented his miraculous survival as the product of pure hatred, channeled through the Force, and directed towards the man who nearly killed him and the master who abandoned him. Through much of his screentime both shows, he is motivated almost singularly by a desire for revenge against both Kenobi and Sidious, eventually culminating in a final rematch between him and Kenobi in the Tatooine desert that ends with him being slain and set free at last from his eternal torment.

For Rebels viewers who had perhaps seen the main saga films — Episodes I-VI at the time — but missed The Clone Wars, Maul’s return would come as an utter shock. The last they had seen of this man he had been falling down a reactor shaft in two pieces; now he was alive and well and menacing the galaxy yet again. When did this happen? How did this happen? They would have to watch The Clone Wars or read a Wookiepedia article to learn for themselves, since the show mostly assumed you were already aware of his return. Thankfully, the entire show was available on a popular streaming service and came highly regarded by much of the fandom, so the reward for “doing their homework” might be seen as worthwhile. Not to mention its arc-based structure lent well to isolating a few specific episodes as “essential,” instead of needing to view the entire show to understand how and why Maul had come back from the dead. And yet, the prospect of there being “homework” at all for an animated show geared towards children and teens might have also turned away some of those who had been lured in by the stormtroopers and lightsabers they once knew and loved.

All told, the first few years of Star Wars under its new management indicated a great deal of how the next decade of Star Wars media would play out. Anything the fans didn’t like — the prequels, mainly — could be mostly ignored. Aspects of the franchise beloved by fans but unknown to broader audiences — The Clone Wars and the EU /Legends— may continue to appear, but only when it can contribute positively to the story already being told. And above all, stick to what everyone knows and loves as much as you can — the aesthetics and iconography of the Original Trilogy: X-Wings and TIE Fighters, Rebels and Empire. These were as good as gospel in Disney’s new church of Star Wars, a fact which was only proved truer when the highly anticipated Episode VII hit theaters in December 2015, the first theatrical live-action Star Wars movie in a decade, and the first since the Disney buyout.

[lol-jackles]

https://www.hollywoodreporter.com/business/business-news/gina-carano-sues-disney-mandalorian-firing-lawsuit-elon-musk-1235817466/

I used to love her character and thought she had a great dynamic with the Mandalorian

But she has always been extremely wrong in all of this and now she is even accusing Pedro

I don't understand much about these things and I wonder where this is going, what do you think?

Link. This is about discrimination and defamation I think she has a case. Here is the document submitted to court.

First, Gina was treated differently from her co-stars by Lucasfilm. If Mark Hamill is allowed to run his mouth with left-leaning ideological opinions for years without getting fired, then why not Gina with her right-leaning opinions? Even male co-stars expressing similar beliefs as Gina were not targeted by Disney for discipline or harassment. Gina was not "accusing" Pedro nor the other male co-stars mentioned in the document, but to point out the difference in treatment between her and others that was based on her sex and ideologies. So much for Kathleen Kennedy's claim that "Force is Female".

Second, Lucasfilms didn't just fired her, they defamed her publicly on her way out. In the good old days, producers quietly blacklist actors and rarely publicly dissed them. So Lucasfilm and Disney messed up by saying the cause of her firing. Had they just moved on without stating the unneeded reason, they could have been fine. But apparently Lucasfilm and Disney wanted the approval of only one side of the isle.

Third, discovery will be a real concern for Lucasfilm/Disney, especially if emails showed that Gina was targeted for harassment by Lucasfilm employees and producers, especially from Kathleen Kennedy. In one case, Gina was accidentally sent an email from a Lucasfilm employee advising Disney on how to use Gina as a scapegoat as a deflection from their own questionable business dealings in China by mentioning the January 6th event in DC and Gina in the same sentence.

Wow. Just....Gina, I hope you get $10 million-after-tax.

Side note: Emily Swallows aka Darkness aka Chuck's sister had come to Gina's defense against the woke mob madness.

[themandaloriandaily]

THE MANDALORIAN AND GROGU JOURNEYS TO THE BIG SCREEN

@themandalorian: Directed by Jon Favreau, and produced by Favreau, Kathleen Kennedy, and Dave Filoni, The Mandalorian & Grogu will go into production later this year.

[piglet26]

Alright, Is the Star Wars Fandom Sexist?

As you probably know Daisy Ridley signed onto do another Star Wars film. I welcomed this..... mostly. If they don't reunited the Dyad I'm very curious as to what would be the point (more on that later.) Well, I saw this quote from a recent interview of hers, "I think my take is things get blown out of proportion and the interactions I've ever had with people have been nothing but wonderful and supportive," Ridley said. "I've only ever been embraced. And I think we're going to make a great film."

Now whether or not Ms. Ridley actually feels this way.......she's intelligent enough to say just this. Undeniably, all of the men who have talked shit about her for the past 7,8 odd years will now have softened to her for simply not holding them accountable. Hey, that's the biz kids. Don't make enemies out of your audience. No man wants to be called a sexist even if he actually is one.

Is there sexism in Star Wars? Yes and no. It has never been a straight answer. Now if you ask a lot of men in the Star Wars fandom if they are sexist..... they'll say no. Why? Princess Leia of course! Padme! Strong women who directed men, issued orders and politically led. They did and do support these women. In fact, if you had asked me if the fandom was sexist prior to The Sequel Trilogy I would've said that the SWF is one of the most progressive fandoms for women and has been since the 70s!

Where did it all go wrong?

Well, maybe this

Or, this

Maybe just good ole fashion paranoia. Personally, I think it's a combination of all three. The minute Disney bought Star Wars the fandom was primed to distrust it. Change, for better or worse, was on the horizon. Hell, even worse, corporate change. It's Rage against the Machine raging FOR the machine. Least we forget how Star Wars started...... as a "fuck you" to corporatized assembly-line movie production.

However, we are not her to discuss whether The Sequel Trilogy was good. Debatable..... with the exception of Reylo. That's just iconic. We are here to discuss how on earth Daisy Ridley ending up bearing the majority of the responsibility for its failures. Maybe even more importantly the "Feminization" of Star Wars.

A sane person could tell that. The same people screaming "Star Wars is Dead" for the last seven years are still saying the eulogy. Still going on whining and complaining about it. There is a general rule when franchise start to go off the track - you ignore it was ever made. Godfather 3? Tokyo Drift? Never happened.

If you don't like what Star Wars has become then the first person on your shit list should be it's creator. George Lucas. George could've signed over Star Wars under the guarantee that whatever outline he produced for The Star Wars Sequel Trilogy, Disney HAD to stick to - he didn't. He could've signed on a producer - he didn't. He could've picked someone else except Kathleen Kennedy to replace him - he didn't. Somehow George Lucas has escaped any responsibility in what his life's work has become. Maybe the fandom got it out of their system after the Prequel Road Rage.

News that George Lucas's treatments were thrown out and the extended universe being cancelled didn't exactly calm down the public.

Maybe the next person should JJ Abrams and Kathleen Kennedy for for thinking that there was something wrong with Star Wars. Star Wars already was diverse. It already HAD strong females. Yet, there they went finding problems that didn't exist. Why? Money. Disney has a powerful female/family demographic. Star Wars a strong male demographic. Disney sought to combine the best of all worlds in one franchise and they were the company to do it. Look at what they accomplished with Marvel!

Then the announcement came that there would be a female protagonist. A female Jedi to be exact. I thought this was different and interesting. The men did not. What they saw in there head was THE FORCE IS FEMALE in flashing bright lights. This was it. Confirmation. Star Wars was about to get pussyfied. From the get-go Daisy Ridley's Rey was to be a focus, a target, for the mistrust, uneasiness and rage from the men.

Let's me be clear men are ok girls liking their stuff. As long as girls are not in a position to influence whatever it is they like, or rather "ruin it." Can you blame them? If a bunch of straight dudes came in and started writing Sex and the City I'm telling you- they'd ruin it.

The Force Awakens finally arrives and curiosity was able to lure in even the most salty man. Not to mention the possible joy of seeing Han, Luke and Leia on screen together again. TFA is a perfectly decent film. There were two glaring choices in this film. One, Han is killed. Two, Rey beats Kylo Ren at the end. All things considered we should not have been surprised what the internet had to say. Rey was a Mary Sue. Men who didn't even know what a Mary Sue was were even saying this.

The term “Mary Sue” was first coined in 1973. A young main character, usually a woman, who was portrayed as unreasonably gifted across every discipline: intellect, combat, the arts, etc. This character would often become respected (and maybe even loved) by main characters and would end the story by saving the day in heroic fashion.

You don't have to like Rey. You don't have to love her. Rey isn't even the greatest character ever developed, but come on! I wonderer if the people criticizing her even watched the movie. I heard criticism that Rey was too likable! Well, she's the protagonist. She's too pretty! That's a bad thing? She's too nice! She comes off really brash and naive actually. She's the greatest pilot ever! She flew once and not that well. Most of the criticism around Rey was disingenuous and petty as hell.

Many critics have taken the lazy route of she has no character arc or character, but that’s not a very observant take. Her yearning for family and her desperation for her parents to return, while understandable, made her vulnerable to Kylo Ren. Her loneliness made her ultimately vulnerable to anyone who would be nice to her. Now I understand there was no consequences for her faults. However, there can't be both criticism. She either doesn't have a personality, or, she has one, but doesn't suffer consequences for it.

“How could she fly the Millennium Falcon so well?” “How could she beat Kylo Ren when she’d never used a lightsaber before?” “How could she resist Kylo Ren’s interrogation?” The film answered most of these questions. Ironically, no one questioned the 8 year old Anakin Skywalker or the farm boy Luke Skywalker for being amazing or great at anything because of The Force.

She grew up defending herself in melee combat. Her quarterstaff is not a lightsaber, of course, but it was established early on that she has the instincts and the reflexes to hold her own in a fight. While I don't agree with Rey beating Kylo Ren I understand how it was accomplished. Pure, dumb luck. It was luck that Ren was physically and spiritually crippled during their confrontation. Not to mention he had the hots for you. Finn was able to hold him off mostly because Kylo was toying with him, but when he grew bored Finn ended up face first in the snow. No one questioned how Finn the janitor could wield a lightsaber.

Let's talk about Finn, or rather John Boyega. All things considered pretty lucky guy. He got a likable that he played well and got paid well. You wouldn't know it by listening to him. He complained bitterly. He attacked the fans. He attacked Disney. He attacked America. He got off Scott free with fandom. Most remember him with nothing but fondness. Maybe because he is black people feel slightly uncomfortable going after him. But, the women? No problem. Even when fans hate male characters, they talk about what they hate with nuance.

Daisy Ridley did her job and she went home. She carried on beautifully and respectfully with what she was given by the production team. That is all any actor can do. The same would apply to the girl who played Rose Tico. Yet, criticism of what was happening on screen started to bleed onto the actresses in real life.

Mark Hamill shit talked the Sequel Trilogy - fair, enough. But why did you sign on? It he because he needed a job? Hondo wasn't a great leader. I agree. But, countless people ended up losing their lives due to Poe because he refused to listen to the female authority around him. Where was the fandom with their logic bitterness scorecard? The majority of the criticism I heard (Literally several videos on Youtube) was criticism towards Hondo for not telling a newly demoted soldier all of her plans.

Anywho Rey has this new movie coming out...........okay. Not sure who wants to come back for it other than her. After TROS and the fans most co-stars seem good doing other things. OG characters are killed off. There is one person with stunning jet black hair, 6'3, plush naturally red lips, a big dick, freckles and a heroic run that she's in a dyad with that would make this whole movie worth it. Do I faith they'll do the right thing and pay Adam Driver whatever they need to to bring him back? No. Cause there is a little bit of an agenda. For some reason love in the Star Wars universe doesn't do very well, but for the woman it's none existent. The concept that a strong woman doesn't have to die alone seems odd to the very people that want equality for women. For example I saw this comment, "Rey Skywalker is her own character and her continuing story doesn’t have to revolve around Ben Solo. Daisy Ridley’s return shouldn’t be overshadowed by fan expectation over Adam Driver returning."

Yes, it does. This film needs to work. I cannot stress that enough. You know people want to see this film fail. Reylo isn't purely for sentimental reasons (I WOULD SEE MY DYAD REUNITED FOUR TIMES IN THEATRES) Reylo is the biggest marketing advantage Disney Star Wars has..... you knew that when Solo flopped. Do the smart thing, put these people on mute and give us a iconic fight fuck scene.

Rey also wear clothes appropriate with her environment and match the physical needs of what she needs to accomplish like her male peers. Logical and refreshing. I hear the men mostly complain about the lack of hot women in their fantasy.

We could also talk about the sexism Carrie Fisher faced from the not only the studio, but the fandom for the crime of getting older and gaining weight. Her in a metal bikini is already in the spank bank - she contributed enough.

Again, neither Carrie Fisher nor Daisy Ridley in a smart world could ever really own that. Anymore than the Rose Tico actress could. Worse, they could never really tell the Fanboys what they really think of them. I love me some Fanboys, I do, but they aren't a perfect group of people. They just criticism everyone's work like they are. We're suppose to ignore the giant dump they take on anything and everything that comes out. I genuinely think the people beyond The Star Wars Sequel Trilogy sought out to create a great story. To honor what came before. In many respect they did. They aren't George Lucas though.

There is legitimate criticism towards Disney for how it has handled the Star Wars franchise. Currently it can't exactly be be described as quality over quantity. The writers seem like they are writing for early 00s Disney Channel rather a complex space political fairytale. Characterization has not been wonderful. Again, it's not simple. While Disney has not steered the ship perfectly. I would argue there was an audience sitting in ill will and waiting to be disappointment.

[darth-memes]

WE ARE GETTING A MANDO MOVIE!!!!

[demifiendrsa]

The Mandalorian will receive a theatrical film titled The Mandalorian & Grogu. The film will be directed by Jon Favreau, and produced by Favreau, Kathleen Kennedy, and Dave Filoni. Production on the film will begin in 2024.

“I have loved telling stories set in the rich world that George Lucas created,” said Favreau. “The prospect of bringing the Mandalorian and his apprentice Grogu to the big screen is extremely exciting.” "Jon Favreau and Dave Filoni have ushered into Star Wars two new and beloved characters, and this new story is a perfect fit for the big screen," added Kathleen Kennedy, president of Lucasfilm.

[somethingusefulfromflorida]

I don't think I've ever met anyone capable of doing a really good Kermit the Frog impression, least of all the official voice actors. None of them sound anything like Jim Henson and they don't capture anywhere near the same energy; modern Kermit—I guess he's default Kermit now, considering he's been around about as long as Jim Kermit ever was, 35 years (1955 - 1990), 34+ years (1990 - present)—is a flanderized schmuck with none of the charisma and go-with-the-flow levelheadedness of the original. OG Kermit was the straight man in a world of weirdos but he was still capable of matching their energy without getting frazzled. There was a humble kindness in his pingpong balls that has been lost in translation over the decades. It's more than just the voices being bad (which they are), it's that Kermit was Jim. Everybody loved Jim. Everybody loved working for him and with him, everybody respected him and his craft, he was their rock, and losing him turned the entire franchise on its head, even before Disney got its grubby mits on it. The Muppets have no guiding voice anymore, everything they do is written by committee to evoke the feel of Muppets without actually getting to the heart of the Muppets. I mean, other crappy franchises at least have big name producers attached who can take the blame like Kevin Feige with Marvel, Kathleen Kennedy with Star Wars, Alex Kurtzman with Star Trek, but the Muppets are just listless. Who specifically is in charge of the Muppets? There is an answer, I know I can look it up, but my point is that whoever's in charge is NO JIM HENSON. Never has been, never will be.

[burningfieldof-clover]

wild how they just nonchalantly confirmed Ahsoka season two in this

[pedropascal24-7]

[far-away-and-long-ago]

"Ahsoka" Season 2 is in development with creator Dave Filoni, Lucasfilm has confirmed.

[lavenderdameron]

Screeching right now

[perrydowning]

What is your opinion on the whole Rey movie coming out? I have to say I’m quite cautious knowing they already proved they don’t understand her character

Thank you so much for asking my opinion, it was a lovely reminder that there's a brain in this skull. <3

So, background. I grew up on the original trilogy and was there opening night of Episode I. I saw it in the theater five times, hoping that I’d crack the code. I accepted defeat by Episode III. I ignored the new stuff until Mr. Downing dragged me to ‘The Force Awakens’. I dared to hope again, and we know how that worked out.

After Jar Jar Abrams proved he was a hack, I had a good brood and I realized the only decent films involved Marcia Lucas and/or Carrie Fisher. Thus, I won’t watch a new Star Wars property again until they release a movie that’s written, staring, directed, and produced by women (Kathleen Kennedy doesn’t count). So I only read enough of the press release to find out if my minimum had been met.

It was not.

I’ve had my fragile little heart shattered twice, so they’re gonna have to step up in a big way to entice me to give them a third chance. And, honestly, without Mr. Downing, I'm not totally sure I can ever try again.

This is not to say I have issue with folks following it, hoping, giving it a shot. I just can’t until I’m sure Star Wars values women, wholly and completely.

[generalpierrotdameron]

“Now I’m what’s called chief creative officer of Lucasfilm,” Filoni tells Vanity Fair

Filoni will now work more directly with Lucasfilm president Kathleen Kennedy and alongside Carrie Beck, a veteran producer turned head of development, to originate and shepherd the next generation of Star Wars shows and movies

“I’m not telling people what to do,” Filoni says. “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.” He described his responsibilities as understanding the intent of the filmmakers and being a resource to them, based on his mentorship under Lucas himself, and his years spent steering The Clone Wars, Rebels, and Ahsoka. “Literally, hours now of Star Wars storytelling I have done,” he said

Filoni will continue developing his film, as well as exploring a possible second season of Ahsoka, while serving in his new position. “To truly help filmmakers, it was really important for me to experience it firsthand,” he says. “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…’”