Internet, you absolutely tire me out sometimes. And there’s no better example of that then the discussion surrounding the release of Star Wars: The Last Jedi. Technically, the film has only been released in America for five days, but I’m already exhausted by the pure amount of conversation around it. The thousands of tweets, the hundreds of think pieces, the almost uncountable numbers of long, drawn out comments filling up all the message boards — it’s exhausting, even for a film that has so much to talk about (like The Last Jedi undebatably does.) And for someone like me, who both A) writes about movies online and B) likes to have things stew in my brain for a while before putting hypothetical pen to hypothetical paper, it creates this feeling that my thoughts on the film are coming out wildly late compared to the rest of the world, and that, at this point, absolutely nothing I write about the film has not already been expressed a hundreds of times by dozens of other more talented, more deadline driven writers than me.
Let me once again remind you that it has only been seven days. But in internet time, that might as well be a month.
But, hey, talk surrounding The Last Jedi has really yet to abate, once again proving just how divisive and loaded the finished product turned out to be. I already laid out my initial thoughts on the film in last week’s timely piece but, since then, I’ve had a lot of time to further reflect (and, to be quite honest, grapple with) my ultimate feelings on the film. I also got the chance to see the movie a second time, which really does refine my overall thought process, for both better and worse.
Because, seeing The Last Jedi again, I was certainly taken in more with the experience. I generally like the movie, and even did at the time I initially wrote about how disappointed I was in what it ultimately was. But, make no mistake: I still remain somewhat disappointed in what we got with The Last Jedi. Because, as much as I can now appreciate it is a good movie…it has failed to really convince me of its ultimate greatness.
And that dichotomy ultimately struck out a great deal watching the movie a second time. Finding so much more to enjoy, the things I didn’t like became all the more glaring. And the more and more I thought about it, the more I realized that my problems with the film stem from one essential truth: as good as the concepts were in The Last Jedi (and make no mistake, pretty much all of them were), I feel like Rian Johnson didn’t take things far enough to really push the film into the all-time great echelon…even just amongst Star Wars films. Unlike what the internet tries to tell me, my issues with The Last Jedi don’t stem from a place of being afraid of change — my favorite moments of the film, really, are based around the idea of “playing around” and doing something different with the concept of Star Wars. But, time and time again, I was left with the feeling like The Last Jedi was still pulling its punches, especially in regards to what everyone was telling me otherwise.
Which is an interesting point when it comes to this film: inevitably, there was going to be a lot of hype from others sitting in my head as I watched the movie. Which, for what it’s worth, is no fault of The Last Jedi itself — you can’t really blame a film for the hype around it. That being said, having all the pre-release buzz about how The Last Jedi changes Star Wars and does things that are unpredictable and controversial certainly peppered my initial reactions. In a perfect world I would be able to avoid all this pre-release conversation and hyperbole that Film Twitter unleashes upon my brain…but a perfect world this isn’t. So, going into The Last Jedi, I was really expecting a movie that would change everything I expected from this new trilogy of films.
Suffice to say, The Last Jedi did not, and I’m baffled by both the insistence that it A) it does and that B) the reason I didn’t love the movie is because I’m afraid of said change. It’s a narrative being toiled about all over (though, again, mostly through Twitter) from the people who unabashedly love the film, and it simply has to stop. In fact, all the assumptions made by either side about why or why not someone might love the film needs to be given the kibosh. But, since I already made that point clear on the social media network that thrived on such discourse, I’ll let the Twitter thread below speak for itself:
"Oh fans don't like to embrace change," or "The critics were bought out by going to the premiere," or "if you liked/disliked X Star Wars thing you will like/dislike The Last Jedi," etc. STOP IT. Reductionist reasoning to explain whole swaths of people is irritating.
— Matthew Legarreta (@mattlegarreta) December 18, 2017
It reminds me a lot of the post election deluge of "How did Hilary lost/how did Trump win?" And I get it: we are humans, and we like to rationalize things. But thinking you have definitively figured out the origins of someone's opinion is deeply, deeply silly.
— Matthew Legarreta (@mattlegarreta) December 18, 2017
But, being Twitter, I could of course not delve into the actual meat of this argument, and explore the fact that my disappointments with The Last Jedi stem from something no one else (except a few other detractors like myself) seem to see: hidden beneath the admittedly beautiful gloss and fast-paced, roller coaster ride atmosphere, The Last Jedi is a movie that wants to have its cake and eat it too. It’s a Star Wars film that wants people to know that it’s BOLD and DIFFERENT and doesn’t think ANYTHING IS SACRED…but then spends the entire denouement putting things back into place, rather than moving things forward. On the surface of the movie are bold decisions, ones that could leave all our characters in fascinating places before the final installment. But it doesn’t take long before The Last Jedi renegs on all its ballsiest developments, returning things to the status quo and abandoning potential plotlines that, frankly, would have been far more exciting than what we actually got.
I’m being vague, though, so let’s go ahead and dive into the nitty-gritty (with SPOILERS attached, obviously.) Probably the most keen example of the “change” that everyone keeps talking about is in regards to the light side vs. dark side debate, and how both Rey and Kylo go about it. Personally, though I liked the plotline, it didn’t feel particularly fresh for this universe: arguments over the light side and dark side are stock material for Star Wars at this point, and it’s just slightly starting to get old. I for one can only take so many conversations about how close someone is to going to the dark, or how someone can turn the other to their side, or what have you. So much of The Last Jedi delves into the light side/dark side issue in a way that I personally didn’t find very different to what we have seen before from this franchise but, to be fair, it didn’t have to be. The only reason I expected something more was because people were telling me TO expect something more and, once again, I can’t really blame the film for that.
But what I CAN blame the film for is flirting with something different, before rejecting it completely. In what might be the highlight of the entire movie, Kylo ends up killing Supreme Leader Snoke, in a clear nod to Vader killing the Emperor at the end of Return of the Jedi. We all expect it to go into a similar, predictable manner from here (with Kylo joining forces with Rey, him getting redemption, etc)…until it doesn’t. Instead, Kylo used Snoke’s death as a power grab of sorts, and tries to bring Rey onto his side by speaking of how harmful living in the past is, and how they both need to push the galaxy forward, and so and so on.
This is a really interesting beat for the film and, as much as it would hurt to see Rey join forces with Kylo, would make for a fascinating conclusion to the sequel. If Rey choose to actually join Ben, if they dismissed the forces of both The First Order AND the Resistance, and truly set out on their own path, that would have been interesting. That would have been new, and different. But, instead, Rey denies Kylo’s request (as all heroes must do,) manages to escape unscathed, and embraces her destiny as a true Jedi. Kylo, meanwhile, becomes the ultimate force of evil, leading The First Order (THE BAD GUYS) against The Resistance (THE GOOD GUYS.) So, basically, we are back to where we started from…we just now know that (hopefully) the issue of Kylo’s potential return to the light has been put to rest.
And, really, it’s the 100%, black-and-white view on morality that kind of irks me by the end of the film. Because there’s plenty within The Last Jedi that leads viewers to think it might go against such a firm grasp of good and evil. From Benecio del Toro’s whole speech about the arms dealers who sold to both the Resistance AND First Order (and his final line, which seems to echo a sense of pure exhaustion from the endless back-and-forth between the two groups, something I wish the film delved far heavier into) to the reveal that Luke pushed Ben to turn to the dark side due to his premptive actions, it seems the entire goal of The Last Jedi was to upend what we think about this universe, and present us with a Star Wars story we’ve never seen before. But the only problem is that the movie doesn’t do that — in fact, all it does by the end is reinforce what we all thought to be clear from the get-go: First Order BAD, Resistance GOOD. And, once again, there was so many opportunities presented in the film itself for that NOT to be the case.
Take, for instance, the entire subplot with Poe Dameron. I was digging the storyline throughout the first half, and thought the moment that Poe ended up committing mutiny on Vice Admiral Holdo was, once again, pushing things back into the whole subversive nature of the movie that I was promised. I mean, how ballsy would it have been if Holdo actually WAS evil? What a bold statement it would be if the hierarchy of the Resistance was just as crooked as The First Order, and a civil war of sorts broke out within the group, spurred on by the power vacuum of Leia’s (narratively more interesting) death? What if this film left us with a disillusioned look at the Resistance, and only our core group of main characters (Rey, Finn, Poe, Rose, Leia, etc.) left to fight both sides? Wouldn’t that create not just the ultimate downer ending for the sequel, but also reinforce the film’s themes of throwing the past away? After all, the Resistance is just Rebellion 2.0, and to turn our understanding of “The Good Guys” completely on its face would truly be ballsy.
But, instead, Holdo turns out to totally be a hero, Poe was being an idiot, and should have totally trusted his superior officer despite giving him literally zero reasons to do so other than the fact that, currently, she was the one in charge. Even more frustrating, Poe’s mutiny was treated with little more than a slap on the wrist, with both Leia and Holdo immediately afterward complimenting the former Commander, as though his little bout of treason was just a funny little character quirk they all kind of like (“That’s our Poe!”)
It is here where the failure to truly embrace change also backfires on The Last Jedi. Next to the whole “forget the past” mantra at the center of the film, another major theme in The Last Jedi is the idea of embracing failure, learning from it, and finding ways to move forward despite the setbacks it presents. That’s an admirable theme, if it wasn’t for two main problems: 1) seeing our main characters continue to make stupid mistake after stupid mistake is frustrating to watch and 2) the characters never actually face any consequences for the mistakes that they make, which leaves me scratching my head about the reason to have the lesson in the first place.
When Rey stupidly turned herself into Kylo Ren and Snoke, based on a single force vision that she could turn him, did she suffer at all for being wrong? Not really, no. Sure, her lightsaber broke in half, but I imagine that will just give her the opportunity to turn into a double bladed one for the next movie (which, admittedly, will be pretty sweet to see.) And she gets a little cut, which kind of sucks. But, after the whole throne room scuffle, Rey literally just walks away, escaping off camera and disappearing for like 20 minutes of the film (this happens to a lot of characters in The Last Jedi, unfortunately.) When she returns, she is joviality shooting shit on the falcon, making wisecracks and overall enjoying her day.
Forget the fact that we have no idea how she ended up rendezvousing with Chewie and the Falcon again (was he just circling around in the back or something, just waiting for her? Where exactly did he go during the entirety of that throne room confrontation? How did she find him again using Snoke’s escape pod? The film knows this entire chain of events is messy so, like most things it deems messy, chooses to completely ignore it instead.) My bigger issue is the fact that Rey made a stupid decision, and she never once has to come to terms with her failure. Nor does Poe with his mutiny attempt, or even Finn with his attempted suicide run towards the end of the movie (sure, Rose gets injured, but it probably would have had far more impact if his actions actually killed her.)
This comes in stark contrast to The Empire Strikes Back (probably the closest analog to The Last Jedi), a movie which also had many of its main characters fail in what they were trying to do. But when Han’s trust in his friend ends up backfiring, he gets captured and frozen in carbonite, potentially never to be seen from again. When Luke makes his own stupid, arrogant choice and goes to fight Vadar, he ends up getting his entire arm chopped off. Empire is so brilliant because it perfectly ramps up the tension for all our main character, making the grasp of the Empire envelop them like a tightening noose. After such a heroic victory in A New Hope, The Empire Strikes Back is true to its title, which I would argue made for a very brave and, more importantly, very satisfying sequel. The Last Jedi, by comparison, only goes halfway on both of those things.
I’ve already gone long bagging on a film that I (once again, feel like I should reiterate) mostly liked, but one more final note before we conclude things. If you’ve read this article to this point (somehow), there might be one prime argument you will try and use to refute me: I keep judging the movie based on what I wanted to see, rather than what The Last Jedi actually is. This is another very common bit of fansplaining that I’ve heard people use to detract from the detractors (what a time for discussion that we live in, folks!), and it’s one I have thought about quite a bit. Are my issues with the film solely that it didn’t go the way I wanted?
It’s an interesting question, and I certainly feel there are people who hate the film (you know, the ones giving it like 0% on Rotten Tomatoes and the like) primarily for this reason. Clearly, I too have put a lot of thought into the future of this trilogy after Star Wars: The Force Awakens (a movie I still really love, by the way), and did indeed spend a lot of time dreaming about where the future of the series would go after such a strong reintroduction. There were plotlines that I created in my head, potential developments and twists in the story I was hoping to see happen. None of them were of the “DUH SNOKE IS DARTH PLAGUEIS” variety, but they were certainly still predictions, and could probably be pushed into the category of fan theories.
But here’s the thing: that was not a thing I do exclusively for Star Wars. I do that for damn near EVERYTHING I watch, because I’m a geek and a writer and I like to tell dumb stories in my head sometimes. And though I often create the plots of movie sequels wholesale just to entertain myself, that very rarely prevents me from enjoying the actual, final film on its own terms. Take another sequel to a blockbuster film I loved: War for the Planet of the Apes.
Dawn of the Planet of the Apes is probably my favorite blockbuster of the past decade and, after its big cliffhanger ending, I dreamed plenty about what would come in its follow-up. But not a single one of my predictions could prepare me for War for the Planet of the Apes, which ended up being a weird, atmospheric character study masquerading as a summer blockbuster, with only the bare minimum of action and adventure you would expect from something titled War for the Planet of the Apes. It was 100% not the movie I was hoping for, or the one I created in my head. But, taken on its own terms, it was FANTASTIC, and ultimately, I loved that it wasn’t the film I initially made thought it would be. It was, plain and simple, better.
I do not feel similar about The Last Jedi. To reiterate a point I’ve made countless times in this article, it’s not the fact that The Last Jedi went in directions I didn’t expect, or even necessarily want. It’s the fact the fact that the path there was filled to the brim with plot contrivances, missed character beats, and extremely rushed plotting. You can only get so far with a film based solely on the ideas that it’s tackling: like all things, execution is key. And, with a good amount of The Last Jedi, I found the execution to be lacking. Even worse, at the end of the day, I found myself in an odd place: I don’t care about what happens next. The only reason I (and millions of others) created the fan theories we did and “geeked out” about what the rest of the trilogy could contain was because the conclusion of The Force Awakens got us EXCITED. The possibilities were wide open after that film, and I was so eager to see how the story would build with its sequel. But this feels like less of a ramp-up for the conclusion of the trilogy, and more like a wrap-up to it. After this one, I have literally no idea what is to come in Star Wars: Episode IX. And, far worse? I have no desire to try and figure it out.
Also published on Medium.
Disney Celebrates International Women’s Day By Giving Its Favorite Man, Jon Favreau, A Live-Action Star Wars TV Show
Deserved or not…THE OPTICS, DISNEY. THE OPTICS!!
It’s no big secret that Disney is going in gung-ho on bringing new people into the Star Wars franchise. In the last year, we have seen over half a dozen people be given new movies and projects set within the series, as Lucasfilm slowly starts to build up what the future of this franchise will be following next year’s Star Wars: Episode IX. But while I say “people”, I probably should be more clear — white men. Disney has given the keys to the franchise solely to a bunch of middle-aged, white men.
Is this in and of itself some type of hiring sin? Eh, no, not really. And I don’t even blame Disney/Lucasfilm entirely for the situation — it’s clear that Kennedy and her cohorts are running scared a bit here, with a string of high profile, low experience collaborators causing headaches behind the scenes (Josh Trank, Gareth Edwards, and Lord & Miller.) For that reason, they have been turning to experienced “sure things” to take the reigns of Star Wars, namely in the form of J.J. Abrams (who already did it in The Force Awakens!) Rian Johnson (who already did it in The Last Jedi!), Stephen Daldry (a prestige journeyman with twenty years of experience!), and Weiss/Benioff (they show-ran the most complicated series ever made, THEY ARE PROS!) And you know what the paradox is here? All the filmmakers with decades of experience and a reputation of being professionals are almost entirely — you guessed it! — white dudes.
Enter Jon Favreau. Disney is clearly a fan of the man ever since he gave them the first Iron Man (which in and of itself was a bit of a risky decision to give to him at the time…but I digress), and has worked with him again on massive hits like The Jungle Book and future GARGANTUAN hit The Lion King. They appear to like him, he appears to like them, and there are billions of dollars that prove the relationship works. So now Favreau is being given a pretty big role in Disney’s current crown jewel franchise — Star Wars.
Not the Star Wars project you might think, though. Rather than diving head first into the crowded realm of future Star Wars movies (occupied by at least one more saga film, two competing trilogies, and a whole bunch of individual “story” films), Favreau will apparently be helming the previously announced live-action TV series on Disney’s forthcoming streaming service. This was announced just earlier today on StarWars.com, alongside the expected statement from Kathleen Kennedy:
“I couldn’t be more excited about Jon coming on board to produce and write for the new direct-to-consumer platform. Jon brings the perfect mix of producing and writing talent, combined with a fluency in the Star Wars universe. This series will allow Jon the chance to work with a diverse group of writers and directors and give Lucasfilm the opportunity to build a robust talent base.”
And the expected outburst of excitement from Favreau:
“If you told me at 11 years old that I would be getting to tell stories in the Star Wars universe, I wouldn’t have believed you. I can’t wait to embark upon this exciting adventure.”
Putting aside the pure exhaustion I have to new Star Wars projects right now (TOO MANY), who the fucks idea was it to announce this news today of all days? It’s no big secret that the critical community at large (or Film Twitter, at the very least) has been giving Lucasfilm crap for their seeming dismissal of having more diverse voices behind the scenes. Warranted or not, the complaints about the lack of anyone but straight men being a creative force of the series is extremely prevalent. And if you’re facing backlash over not hiring women to do things…adding yet another man to your company on the damn day of appreciatiating woman just reads as a back slap at worse, and tone deaf at best. READ THE FUCKING ROOM, LUCASFILM.
Ignoring the exact date of the hiring, though, Favreau being announced for this is…fine, I guess. I am not nearly as enthusiastic on the guy’s filmography as some (or Disney, especially) seem to be, but his films are usually pretty good at least (unless they are Iron Man 2.) So this certainly isn’t the worst pick for a Star Wars project. That being said, choosing a guy with zero experience writing a TV series to write a TV series of this scale is a bit disappointing. There are plenty of fine, experienced showrunners out there — why give Jon Favreau, who has already cultivated success in his career a dozen times, yet another big project? Hiring Jon Favreau to do this Star Wars series is ignoring TV showrunners who are perhaps more suitable for the part, which puts his hiring as a “double whammy” of ignoring potentially better candidates, if you ask me.
Anyways, whatever — I’m just hoping that the next announcement of someone getting a Star Wars project is a little more unique, a little more interesting, and a little more diverse. Or, second option…don’t announce another Star Wars project for a while. I think we have plenty to mull around already, Lucasfilm.
Also published on Medium.
Why Marvel Moved Up The Avengers: Infinity War Release Date
It was a win-win-win-win decision for the company, really.
The first weekend of May is considered the “start” of the summer movie season…but, in recent years, that has pretty much evolved to become the “Marvel movie” slot. Barring one exception in 2009 (the only year Marvel didn’t release a movie in the past decade), every year since 2007 has given us the release of a new film featuring a Marvel superhero in the first weekend of May. It’s become something of a tradition, one that wasn’t entirely surprising to see Marvel keep intact as it approached its tenth anniversary as a film studio. And with Avengers: Infinity War by far representing their largest and grandest project, the Marvel May slot seemed perfect for the film to have its grand debut. And for years, we’ve all been working off that assumption. Disney set a May 4, 2018 release date for the film some time ago, and there was no way they were going to change that.
Well, they just changed that.
But unlike most sudden release date changes, this one is A) minor and B) mostly a good thing. Instead of launching on May 4, Avengers: Infinity War will now hit theaters everywhere on April 27, abandoning the May month completely. Two months before the film’s release, it’s a bit of a shocking development, although Marvel had fun with it on Twitter, by way of (who else?) Robert Downey Jr.
Any chance I could see it earlier?
— Robert Downey Jr (@RobertDowneyJr) March 1, 2018
Great. With friends?
— Robert Downey Jr (@RobertDowneyJr) March 1, 2018
The entire world?
— Robert Downey Jr (@RobertDowneyJr) March 1, 2018
That’s a FANTASTIC idea! Done.
— Marvel Studios (@MarvelStudios) March 1, 2018
Now obviously this was planned (Robert Downey Jr. didn’t just push Marvel to massively move the release date of its biggest film out of the blue — come on now), but what was the reasoning for Disney’s decision here? Well, a few things.
Number one? The film was already going to release on April 27 overseas, which is typical for a Marvel release (they almost always open internationally before coming to the States). So moving the release date for America only puts the film in line with the rest of the world, which is ultimately pretty smart: now Marvel and Disney can brag on April 30 about how the film made approximately $67 billion worldwide in its first weekend of release. It will look great, vanity wise.
And this also moves Infinity War away from Disney’s own Solo: A Star Wars Story, opening at the end of May. That’s not even to mention the recently moved Deadpool 2 on May 18, which was a surprisingly big threat to Infinity War’s legs. With a three week gap between the two, however, Infinity War is now in the clear in terms of maximum, immediate revenue (all that really matters in Hollywood in this day and age.)
And as for first-weekend competetion, neither weekend poised much of a threat: nothing was playing on May 4, sure, but the only thing on April 27 was a Paula Patton thriller entitled Traffik, a horror movie called Bad Samaritan starring David Tennant, and comedy I Feel Pretty from Amy Schumer. The latter film already moved back a week to April 20, and neither of the others will make much of a dent on pop culture, so Marvel had nothing to fear with placing Infinity War against them.
Finally, the move will also cut off the threat of spoilers reaching America before the majority of the country gets to see the film. That hasn’t been too much of a threat for other Marvel releases like Captain America: Civil War and Thor: Ragnarok (both opened overseas a week earlier)…but Infinity War is different. It’s rumored to make some massive changes to the state of the MCU and the characters in it, and I’m sure Kevin Feige would prefer people witnessed such developments in the theater, rather than on Twitter.
Ultimately, there’s nothing all that fishy here about the move. It’s only a week, but it could end up helping the film quite a bit in the long run. And if it means we get to see this movie seven days earlier than expected, I’m sure I’m not the only one who will take this offering with little reservations.
Also published on Medium.
Disney Is Rebooting The Muppets (Yes, Again) And A Whole Bunch of Other Dormant Properties For Their New Streaming Service
Honey I Shrunk the Kids, Father of the Bride, The Parent Trap, the concept of time itself. You know, the usual.
Disney has conquered mainstream Hollywood. That is an undeniable fact, if you ask me — between their Marvel and Star Wars output (not to mention their live action remakes, animated films, and projects from Pixar), Disney seems to be the only big studio thriving in the modern age. But as much as that seems like a compliment to Disney, it’s also something of a dour note for the industry overall — things are rough for theatrical film, for a variety of reasons. But perhaps the most substantial one is competition from the world of cable, Broadcast, and (especially) streaming outlets. When you are routinely getting things of the same (if not better) quality out of TV and streaming, why even go to the theater? The question is baffling to me (because it’s a movie theater, that’s why!), but not for the majority of Americans — ticket sales are the worst they have been in decades, as people would rather get their entertainment fix by staying at home and watching Netflix.
And Disney knows this. They are content with having conquered the ashes of traditional Hollywood, but they aren’t idiots — the media landscape is changing, and they want to be just as viable in the new one as a Netflix or HBO. So they are creating their own streaming service, and taking the battle for entertainment supremacy to Netflix in a big way.
But in building their new streaming outlet, I was rather curious how Disney planned to convince people to subscribe to their service when there were dozens more out there competing for the same eyeballs (and monthly set of dollar bills.) Well, today we got a pretty big hint in how Disney plans to build out their streaming portfolio and, no surprise, it’s taking advantage of their biggest asset: all the well-liked shit they have made and/or acquired over the last century. Brands are king for Disney, and they very much seem to be putting those at the forefront as they dive into this new frontier. Call it a safety blanket if you want (I will: it’s a safety blanket), but it has served Disney well in the last decade, so
…reboot time it is!
Of course, many of Disney’s bigger properties have already been rebooted or remade on the big screen, leading the selections for their streaming stuff to be a bit lower tier. The biggest property announced today for the potential reboot treatment is The Muppets, who Disney acquired from The Jim Henson Company back in 2004, and have since been left scratching their heads at what exactly to do with it. Things seemed great at first when the Jason Segal-led reboot film managed to enliven the love for the franchise, and perform pretty great at the box office to boot. But then Muppets Most Wanted came out and, despite being a whole lotta fun, underwhelmed at the box office. It seemed The Muppets would not be the blockbuster franchise Disney was hoping for.
So they transferred the property back to TV, relaunching a new series simply entitled The Muppets. This series had a promising hook (basically The Muppets meets 30 Rock, through the mockumentary lens of The Office) but it failed to get an audience on ABC and, quite frankly, wasn’t even all that good to begin with. Then a whole controversy broke out when longtime puppeteer/Kermit the Frog voice actor Steve Whitmire was fired from working on the property. He argued that Disney’s plans for the character was against what Henson would have stood for. They argued he was a shitty worker who didn’t play well with others, and everyone else was glad to be rid of him. The truth probably rests somewhere in between the two stances, but that didn’t make the controversy anymore crippling for The Muppet brand. They laid low for a year or so, only popping up to make wacky promotional videos and the like for the franchises’ various social media pages.
But apparently, Disney still thinks they can make this thing work in a big way, as The Hollywood Reporter confirms the Mouse House intends to bring the property to their new streaming service. Which, by the way, could use a name pronto. I’m tiring of just calling it “their new streaming service.” Judging by what they seem to want to put on it, maybe simply “Reboot” will do?
Kidding aside, The Muppets isn’t the only reboot Disney plans to anchor the service with. Also in the mix according to THR is film properties like Honey I Shrunk the Kids (you, know the Rick Moranis movie about shrinking kids), Father of the Bride (you know, the Steve Martin movie about being the father of the bride), and The Parent Trap (you know, the Lindsay Lohan movie about trapping parents.) This is in addition to previously announced reboot fodder like High School Musical and The Mighty Ducks which, yeah, were all certainly things at one point in time. They have name value, and that’s all that matters to the house that Micky Mouse built! At least there will be some top shelve franchise extinctions from brands like Star Wars, Marvel, and Pixar’s Monster’s Inc. And, who knows, maybe an original property might sneak its way in there!
…But no promises.
Also published on Medium.
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