Star Wars Episode VIII - The Last Jedi (TÓPICO OFICIAL)

[olifante666]

Tomem um pouco de Damage Control preventivo, de autoria do puxa-saco mor da Disney: Scott Mendelson.


Box Office: ‘Cats’ Will Surely Be The Biggest Movie Ever To Open Against A ‘Star Wars’ Film

Universal dropped a behind-the-scenes featurette for Cats yesterday. It’s self-explanatory, as it’s a 60-second clip of the actors (Taylor Swift, James Corden, Idris Elba, etc.) discussing their work on the upcoming Tom Hooper-directed adaptation of the Andrew Lloyd Webber musical. Yes, the Internet had fun reacting to the first teaser trailer, even if, fair or not, it pretty much looks like a live-action version of Cats. And, if history is any indication, it’ll be yet another Christmas season musical hit along the lines of Les Misérables, Into the Woods, Sing, La La Land, The Greatest Showman and (in North America at least) Mary Poppins Returns. It’s also going to be, barring a fluke, the biggest-grossing movie to have ever opened alongside a Star Wars movie.

The Star Wars prequels opened just before Memorial Day weekend. The likes of Notting Hill ($363 million on a $42 million budget) in 1999, Chris Nolan’s remake of Insomnia ($113 million on a $42 million budget) in 2002 and both Madagascar ($532 million on a $78 million) and the Adam Sandler/Chris Rock The Longest Yard remake ($190 million on an $82 million budget) in 2005 all succeeded after their solid Memorial Day weekend launches as the Star Wars prequels continued to play to packed auditoriums. Daddy’s Home ($245 million in 2015), the Sing ($634 million in 2016) and both Jumanji: Welcome to the Jungle ($962 million) and The Greatest Showman ($434 million) thrived via Christmas weekend openings just after Force Awakens, Rogue One and The Last Jedi.

The comparisons for the original trilogy are slightly complicated. While Star Wars was opening to literal blockbuster crowds in 32 theaters over Memorial Day weekend in 1977, Burt Reynolds’ Smokey and the Bandit opened that same Friday for an eventual $127 million domestic gross ($512 million adjusted for inflation) which would spawn a franchise for Universal concurrently with Fox’s game-changing sci-fi adventure. And The Empire Strikes Back opened in just 126 theaters over Memorial Day weekend 1980 (for a $4.91 million opening weekend), Stanley Kubrick’s The Shining was opening in ten theaters for a $622,337 opening weekend. Return of the Jedi opened unopposed in 1,000 theaters over Memorial Day weekend in 1983. It earned $41 million ($117 million adjusted for inflation) over its Wed-Mon launch.

'Star Wars: The Rise of Skywalker'​

Star Wars: The Phantom Menace opened with $105 million over its Wed-Sun debut, a record at the time, ironically alongside only DreamWorks SKG’s The Love Letter, a romantic dramedy co-starring Kate Capshaw, otherwise known as Mrs. Steven Spielberg. Attack of the Clones earned $110 million over its Thurs-Sun debut in May of 2002, opening concurrently with Hugh Grant’s much-liked About A Boy, which would earn $130 million worldwide on a $30 million budget that summer. Revenge of the Sith would open unopposed with $158 million over its Thurs-Sun debut in May of 2005, including a then-record $50 million single-day gross for Thursday. Scratch that, in other slight irony, Warner Bros. buried Paul Schrader’s Dominion: Prequel to the Exorcist in 110 theaters on that same weekend.

Dominion was the original intended version of The Exorcist IV, which was canned with Renny Harlin directing a more commercial version (Exorcist: The Beginning) which would earn $78 million against an $80 million budget the previous summer. Solo: A Star Wars Story opened unopposed over Memorial Day 2018, while The Last Jedi opened with $220 million alongside Fox and Blue Sky’s Ferdinand ($296 million on an $111 million budget) for what would be Blue Sky’s final release outside of the Disney umbrella. Spies in Disguise will open on Christmas Day, arguably as a buffer in case The Rise of Skywalker underperforms overseas. Rogue One opened with $155 million in December of 2016 concurrently with Will Smith’s underrated (fight me) Collateral Beauty bombing with just a $7 million debut.

Oddly enough, The Force Awakens had two big(ish) openers concurrent with its $248 million opening weekend in December of 2015. Universal launched the Tina Fey/Amy Poehler comedy Sisters on the same day as Star Wars VII, and they milked the counterprogramming angle (#YouCanSeeThemBoth) for all it was worth. Cue a $105 million global cume on a $30 million budget. Fox launched Alvin and the Chipmunks: The Road Chip, as the franchise had thrived opening concurrently alongside the likes of I Am Legend, Sherlock Holmes (both installments) and Mission: Impossible - Ghost Protocol. Alas, the fourth time wasn’t the charm, and the Fox flick earned $234 million on a $105 million budget. While not a disaster, it was low enough to signal the end of the series.

'Mamma Mia!'​

Cats will open December 20, 2019 alongside Star Wars: The Rise of Skywalker. The biggest domestic gross for an “opened against a Star Wars” movie is the $127 million gross way back in 1977 of Smokey and the Bandit. While I don’t expect Cats to match that film’s $512 million adjusted-for-inflation domestic totals, a raw domestic cume above the Burt Reynolds smash seems more-than-plausible even amid a crowded family marketplace (Star Wars, Little Women, Spies in Disguise, Jumanji: The Next Level, etc.). The biggest global grosser for an “opened alongside Star Wars” release is, believe it or not, the $234 million cume of Alvin and the Chipmunks: The Road Chip. So, yeah, that seems more-than-plausible as well considering how well Les Misérables and Mamma Mia! performed overseas.

Speaking of Universal’s Mamma Mia!, with $144 million domestic and $609 million worldwide, the Meryl Streep/Pierce Brosnan/Amanda Seyfried adaptation of the ABBA musical smash holds the record for the biggest grosser here and abroad for any film that opened alongside another $500 million-plus domestic or $1 billion-plus worldwide grosser. As you probably recall, it opened on the same day in July of 2018 as both Space Chimps and Chris Nolan’s The Dark Knight. The latter earned $534 million/$1.004 billion in July of 2008. The $144 million domestic cume looks a lot easier than the $609 million global total for this milestone, but (again) much will depend how folks outside of North America care about the end of the Skywalker/Solo Star Wars saga.

Even with the Internet having a grand old time with the Cats marketing, the blow-out success of Aladdin (on digital HD today after earning $354 million domestic and $1.046 billion worldwide) again shows that online mockery and/or Film Twitter conjecture doesn’t do a damn thing as long as general audiences want to see a movie and that said movie delivers on its promises. If Cats delivers a live-action variation of the stage show, complete with an all-star cast and kid-friendly thrills, I imagine it will do quite alright. No matter how well it does, its place as the biggest “opened against a Star Wars” movie will likely be supplanted in three years when Aquaman 2 opens against Disney’s next Star Wars movie in December of 2022.


Fonte
================================================================================================
Resumindo: o Episódio IX vai ter uma concorrência muito forte nas bilheterias! Por isso o filme corre o risco de não ser tão bem sucedido quanto o esperado.

Sério mesmo, Scott? Esse é o motivo pelo qual o filme corre o risco de tomar pau na bilheteria? Vai se foder, puxa-saco dos infernos! É o último filme da outrora maior saga cinematográfica da história. Por si só, isso deveria ser motivo mais que suficiente para o Episódio IX destruir a concorrência de maneira absolutamente humilhante.

Não é para menos que a mídia de acesso, tão bem representada por um palhaço como Mendelson, não é mais levada a sério por ninguém. São literalmente paus mandados dos estúdios, que vivem para puxar o saco em troca de benefícios e acesso antecipado. E quando não conseguem isso, se limitam a fazer críticas politicamente corretas enviesadas até o talo pela ideologia demente que seguem.

Cats? Sério isso?

Cara... não entendo cabeça de americano... mas imagino que se... SE... o filme fizer sucesso vai se só lá, não acho que ele tenha apelo em outros locais do mundo.

Soy Wars perder bilheteria para Cats é para pregar a tampa do caixão.

 

[Goris]

Tomem um pouco de Damage Control preventivo, de autoria do puxa-saco mor da Disney: Scott Mendelson.


Box Office: ‘Cats’ Will Surely Be The Biggest Movie Ever To Open Against A ‘Star Wars’ Film

Universal dropped a behind-the-scenes featurette for Cats yesterday. It’s self-explanatory, as it’s a 60-second clip of the actors (Taylor Swift, James Corden, Idris Elba, etc.) discussing their work on the upcoming Tom Hooper-directed adaptation of the Andrew Lloyd Webber musical. Yes, the Internet had fun reacting to the first teaser trailer, even if, fair or not, it pretty much looks like a live-action version of Cats. And, if history is any indication, it’ll be yet another Christmas season musical hit along the lines of Les Misérables, Into the Woods, Sing, La La Land, The Greatest Showman and (in North America at least) Mary Poppins Returns. It’s also going to be, barring a fluke, the biggest-grossing movie to have ever opened alongside a Star Wars movie.

The Star Wars prequels opened just before Memorial Day weekend. The likes of Notting Hill ($363 million on a $42 million budget) in 1999, Chris Nolan’s remake of Insomnia ($113 million on a $42 million budget) in 2002 and both Madagascar ($532 million on a $78 million) and the Adam Sandler/Chris Rock The Longest Yard remake ($190 million on an $82 million budget) in 2005 all succeeded after their solid Memorial Day weekend launches as the Star Wars prequels continued to play to packed auditoriums. Daddy’s Home ($245 million in 2015), the Sing ($634 million in 2016) and both Jumanji: Welcome to the Jungle ($962 million) and The Greatest Showman ($434 million) thrived via Christmas weekend openings just after Force Awakens, Rogue One and The Last Jedi.

The comparisons for the original trilogy are slightly complicated. While Star Wars was opening to literal blockbuster crowds in 32 theaters over Memorial Day weekend in 1977, Burt Reynolds’ Smokey and the Bandit opened that same Friday for an eventual $127 million domestic gross ($512 million adjusted for inflation) which would spawn a franchise for Universal concurrently with Fox’s game-changing sci-fi adventure. And The Empire Strikes Back opened in just 126 theaters over Memorial Day weekend 1980 (for a $4.91 million opening weekend), Stanley Kubrick’s The Shining was opening in ten theaters for a $622,337 opening weekend. Return of the Jedi opened unopposed in 1,000 theaters over Memorial Day weekend in 1983. It earned $41 million ($117 million adjusted for inflation) over its Wed-Mon launch.

'Star Wars: The Rise of Skywalker'​

Star Wars: The Phantom Menace opened with $105 million over its Wed-Sun debut, a record at the time, ironically alongside only DreamWorks SKG’s The Love Letter, a romantic dramedy co-starring Kate Capshaw, otherwise known as Mrs. Steven Spielberg. Attack of the Clones earned $110 million over its Thurs-Sun debut in May of 2002, opening concurrently with Hugh Grant’s much-liked About A Boy, which would earn $130 million worldwide on a $30 million budget that summer. Revenge of the Sith would open unopposed with $158 million over its Thurs-Sun debut in May of 2005, including a then-record $50 million single-day gross for Thursday. Scratch that, in other slight irony, Warner Bros. buried Paul Schrader’s Dominion: Prequel to the Exorcist in 110 theaters on that same weekend.

Dominion was the original intended version of The Exorcist IV, which was canned with Renny Harlin directing a more commercial version (Exorcist: The Beginning) which would earn $78 million against an $80 million budget the previous summer. Solo: A Star Wars Story opened unopposed over Memorial Day 2018, while The Last Jedi opened with $220 million alongside Fox and Blue Sky’s Ferdinand ($296 million on an $111 million budget) for what would be Blue Sky’s final release outside of the Disney umbrella. Spies in Disguise will open on Christmas Day, arguably as a buffer in case The Rise of Skywalker underperforms overseas. Rogue One opened with $155 million in December of 2016 concurrently with Will Smith’s underrated (fight me) Collateral Beauty bombing with just a $7 million debut.

Oddly enough, The Force Awakens had two big(ish) openers concurrent with its $248 million opening weekend in December of 2015. Universal launched the Tina Fey/Amy Poehler comedy Sisters on the same day as Star Wars VII, and they milked the counterprogramming angle (#YouCanSeeThemBoth) for all it was worth. Cue a $105 million global cume on a $30 million budget. Fox launched Alvin and the Chipmunks: The Road Chip, as the franchise had thrived opening concurrently alongside the likes of I Am Legend, Sherlock Holmes (both installments) and Mission: Impossible - Ghost Protocol. Alas, the fourth time wasn’t the charm, and the Fox flick earned $234 million on a $105 million budget. While not a disaster, it was low enough to signal the end of the series.

'Mamma Mia!'​

Cats will open December 20, 2019 alongside Star Wars: The Rise of Skywalker. The biggest domestic gross for an “opened against a Star Wars” movie is the $127 million gross way back in 1977 of Smokey and the Bandit. While I don’t expect Cats to match that film’s $512 million adjusted-for-inflation domestic totals, a raw domestic cume above the Burt Reynolds smash seems more-than-plausible even amid a crowded family marketplace (Star Wars, Little Women, Spies in Disguise, Jumanji: The Next Level, etc.). The biggest global grosser for an “opened alongside Star Wars” release is, believe it or not, the $234 million cume of Alvin and the Chipmunks: The Road Chip. So, yeah, that seems more-than-plausible as well considering how well Les Misérables and Mamma Mia! performed overseas.

Speaking of Universal’s Mamma Mia!, with $144 million domestic and $609 million worldwide, the Meryl Streep/Pierce Brosnan/Amanda Seyfried adaptation of the ABBA musical smash holds the record for the biggest grosser here and abroad for any film that opened alongside another $500 million-plus domestic or $1 billion-plus worldwide grosser. As you probably recall, it opened on the same day in July of 2018 as both Space Chimps and Chris Nolan’s The Dark Knight. The latter earned $534 million/$1.004 billion in July of 2008. The $144 million domestic cume looks a lot easier than the $609 million global total for this milestone, but (again) much will depend how folks outside of North America care about the end of the Skywalker/Solo Star Wars saga.

Even with the Internet having a grand old time with the Cats marketing, the blow-out success of Aladdin (on digital HD today after earning $354 million domestic and $1.046 billion worldwide) again shows that online mockery and/or Film Twitter conjecture doesn’t do a damn thing as long as general audiences want to see a movie and that said movie delivers on its promises. If Cats delivers a live-action variation of the stage show, complete with an all-star cast and kid-friendly thrills, I imagine it will do quite alright. No matter how well it does, its place as the biggest “opened against a Star Wars” movie will likely be supplanted in three years when Aquaman 2 opens against Disney’s next Star Wars movie in December of 2022.


Fonte
================================================================================================
Resumindo: o Episódio IX vai ter uma concorrência muito forte nas bilheterias! Por isso o filme corre o risco de não ser tão bem sucedido quanto o esperado.

Sério mesmo, Scott? Esse é o motivo pelo qual o filme corre o risco de tomar pau na bilheteria? Vai se foder, puxa-saco dos infernos! É o último filme da outrora maior saga cinematográfica da história. Por si só, isso deveria ser motivo mais que suficiente para o Episódio IX destruir a concorrência de maneira absolutamente humilhante.

Não é para menos que a mídia de acesso, tão bem representada por um palhaço como Mendelson, não é mais levada a sério por ninguém. São literalmente paus mandados dos estúdios, que vivem para puxar o saco em troca de benefícios e acesso antecipado. E quando não conseguem isso, se limitam a fazer críticas politicamente corretas enviesadas até o talo pela ideologia demente que seguem.

Caramba.

KK tá com o * na mão. Se o filme falhar feio, mesmo que ela não seja demitida (because wah-men), ela vai ser relegada a um post beeeeeem secundário. E eu torço muito por isso. Mesmo que a saga fique 10 anos sem reaparecer (o que duvido), 20 anos sem aparecer, é melhor que ver ela transformada ainda mais em lixo. E quero muito ver essa escrota e seu cachorrinho aprendendo lições de vida (não, sei que ela não vai aprender, mas...).

 

[Darth_Tyranus]

Tomem um pouco de Damage Control preventivo, de autoria do puxa-saco mor da Disney: Scott Mendelson.


Box Office: ‘Cats’ Will Surely Be The Biggest Movie Ever To Open Against A ‘Star Wars’ Film

Universal dropped a behind-the-scenes featurette for Cats yesterday. It’s self-explanatory, as it’s a 60-second clip of the actors (Taylor Swift, James Corden, Idris Elba, etc.) discussing their work on the upcoming Tom Hooper-directed adaptation of the Andrew Lloyd Webber musical. Yes, the Internet had fun reacting to the first teaser trailer, even if, fair or not, it pretty much looks like a live-action version of Cats. And, if history is any indication, it’ll be yet another Christmas season musical hit along the lines of Les Misérables, Into the Woods, Sing, La La Land, The Greatest Showman and (in North America at least) Mary Poppins Returns. It’s also going to be, barring a fluke, the biggest-grossing movie to have ever opened alongside a Star Wars movie.

The Star Wars prequels opened just before Memorial Day weekend. The likes of Notting Hill ($363 million on a $42 million budget) in 1999, Chris Nolan’s remake of Insomnia ($113 million on a $42 million budget) in 2002 and both Madagascar ($532 million on a $78 million) and the Adam Sandler/Chris Rock The Longest Yard remake ($190 million on an $82 million budget) in 2005 all succeeded after their solid Memorial Day weekend launches as the Star Wars prequels continued to play to packed auditoriums. Daddy’s Home ($245 million in 2015), the Sing ($634 million in 2016) and both Jumanji: Welcome to the Jungle ($962 million) and The Greatest Showman ($434 million) thrived via Christmas weekend openings just after Force Awakens, Rogue One and The Last Jedi.

The comparisons for the original trilogy are slightly complicated. While Star Wars was opening to literal blockbuster crowds in 32 theaters over Memorial Day weekend in 1977, Burt Reynolds’ Smokey and the Bandit opened that same Friday for an eventual $127 million domestic gross ($512 million adjusted for inflation) which would spawn a franchise for Universal concurrently with Fox’s game-changing sci-fi adventure. And The Empire Strikes Back opened in just 126 theaters over Memorial Day weekend 1980 (for a $4.91 million opening weekend), Stanley Kubrick’s The Shining was opening in ten theaters for a $622,337 opening weekend. Return of the Jedi opened unopposed in 1,000 theaters over Memorial Day weekend in 1983. It earned $41 million ($117 million adjusted for inflation) over its Wed-Mon launch.

'Star Wars: The Rise of Skywalker'​

Star Wars: The Phantom Menace opened with $105 million over its Wed-Sun debut, a record at the time, ironically alongside only DreamWorks SKG’s The Love Letter, a romantic dramedy co-starring Kate Capshaw, otherwise known as Mrs. Steven Spielberg. Attack of the Clones earned $110 million over its Thurs-Sun debut in May of 2002, opening concurrently with Hugh Grant’s much-liked About A Boy, which would earn $130 million worldwide on a $30 million budget that summer. Revenge of the Sith would open unopposed with $158 million over its Thurs-Sun debut in May of 2005, including a then-record $50 million single-day gross for Thursday. Scratch that, in other slight irony, Warner Bros. buried Paul Schrader’s Dominion: Prequel to the Exorcist in 110 theaters on that same weekend.

Dominion was the original intended version of The Exorcist IV, which was canned with Renny Harlin directing a more commercial version (Exorcist: The Beginning) which would earn $78 million against an $80 million budget the previous summer. Solo: A Star Wars Story opened unopposed over Memorial Day 2018, while The Last Jedi opened with $220 million alongside Fox and Blue Sky’s Ferdinand ($296 million on an $111 million budget) for what would be Blue Sky’s final release outside of the Disney umbrella. Spies in Disguise will open on Christmas Day, arguably as a buffer in case The Rise of Skywalker underperforms overseas. Rogue One opened with $155 million in December of 2016 concurrently with Will Smith’s underrated (fight me) Collateral Beauty bombing with just a $7 million debut.

Oddly enough, The Force Awakens had two big(ish) openers concurrent with its $248 million opening weekend in December of 2015. Universal launched the Tina Fey/Amy Poehler comedy Sisters on the same day as Star Wars VII, and they milked the counterprogramming angle (#YouCanSeeThemBoth) for all it was worth. Cue a $105 million global cume on a $30 million budget. Fox launched Alvin and the Chipmunks: The Road Chip, as the franchise had thrived opening concurrently alongside the likes of I Am Legend, Sherlock Holmes (both installments) and Mission: Impossible - Ghost Protocol. Alas, the fourth time wasn’t the charm, and the Fox flick earned $234 million on a $105 million budget. While not a disaster, it was low enough to signal the end of the series.

'Mamma Mia!'​

Cats will open December 20, 2019 alongside Star Wars: The Rise of Skywalker. The biggest domestic gross for an “opened against a Star Wars” movie is the $127 million gross way back in 1977 of Smokey and the Bandit. While I don’t expect Cats to match that film’s $512 million adjusted-for-inflation domestic totals, a raw domestic cume above the Burt Reynolds smash seems more-than-plausible even amid a crowded family marketplace (Star Wars, Little Women, Spies in Disguise, Jumanji: The Next Level, etc.). The biggest global grosser for an “opened alongside Star Wars” release is, believe it or not, the $234 million cume of Alvin and the Chipmunks: The Road Chip. So, yeah, that seems more-than-plausible as well considering how well Les Misérables and Mamma Mia! performed overseas.

Speaking of Universal’s Mamma Mia!, with $144 million domestic and $609 million worldwide, the Meryl Streep/Pierce Brosnan/Amanda Seyfried adaptation of the ABBA musical smash holds the record for the biggest grosser here and abroad for any film that opened alongside another $500 million-plus domestic or $1 billion-plus worldwide grosser. As you probably recall, it opened on the same day in July of 2018 as both Space Chimps and Chris Nolan’s The Dark Knight. The latter earned $534 million/$1.004 billion in July of 2008. The $144 million domestic cume looks a lot easier than the $609 million global total for this milestone, but (again) much will depend how folks outside of North America care about the end of the Skywalker/Solo Star Wars saga.

Even with the Internet having a grand old time with the Cats marketing, the blow-out success of Aladdin (on digital HD today after earning $354 million domestic and $1.046 billion worldwide) again shows that online mockery and/or Film Twitter conjecture doesn’t do a damn thing as long as general audiences want to see a movie and that said movie delivers on its promises. If Cats delivers a live-action variation of the stage show, complete with an all-star cast and kid-friendly thrills, I imagine it will do quite alright. No matter how well it does, its place as the biggest “opened against a Star Wars” movie will likely be supplanted in three years when Aquaman 2 opens against Disney’s next Star Wars movie in December of 2022.


Fonte
================================================================================================
Resumindo: o Episódio IX vai ter uma concorrência muito forte nas bilheterias! Por isso o filme corre o risco de não ser tão bem sucedido quanto o esperado.

Sério mesmo, Scott? Esse é o motivo pelo qual o filme corre o risco de tomar pau na bilheteria? Vai se foder, puxa-saco dos infernos! É o último filme da outrora maior saga cinematográfica da história. Por si só, isso deveria ser motivo mais que suficiente para o Episódio IX destruir a concorrência de maneira absolutamente humilhante.

Não é para menos que a mídia de acesso, tão bem representada por um palhaço como Mendelson, não é mais levada a sério por ninguém. São literalmente paus mandados dos estúdios, que vivem para puxar o saco em troca de benefícios e acesso antecipado. E quando não conseguem isso, se limitam a fazer críticas politicamente corretas enviesadas até o talo pela ideologia demente que seguem.

 

[Uzumaki.Luffy]

Tomem um pouco de Damage Control preventivo, de autoria do puxa-saco mor da Disney: Scott Mendelson.


Box Office: ‘Cats’ Will Surely Be The Biggest Movie Ever To Open Against A ‘Star Wars’ Film

Universal dropped a behind-the-scenes featurette for Cats yesterday. It’s self-explanatory, as it’s a 60-second clip of the actors (Taylor Swift, James Corden, Idris Elba, etc.) discussing their work on the upcoming Tom Hooper-directed adaptation of the Andrew Lloyd Webber musical. Yes, the Internet had fun reacting to the first teaser trailer, even if, fair or not, it pretty much looks like a live-action version of Cats. And, if history is any indication, it’ll be yet another Christmas season musical hit along the lines of Les Misérables, Into the Woods, Sing, La La Land, The Greatest Showman and (in North America at least) Mary Poppins Returns. It’s also going to be, barring a fluke, the biggest-grossing movie to have ever opened alongside a Star Wars movie.

The Star Wars prequels opened just before Memorial Day weekend. The likes of Notting Hill ($363 million on a $42 million budget) in 1999, Chris Nolan’s remake of Insomnia ($113 million on a $42 million budget) in 2002 and both Madagascar ($532 million on a $78 million) and the Adam Sandler/Chris Rock The Longest Yard remake ($190 million on an $82 million budget) in 2005 all succeeded after their solid Memorial Day weekend launches as the Star Wars prequels continued to play to packed auditoriums. Daddy’s Home ($245 million in 2015), the Sing ($634 million in 2016) and both Jumanji: Welcome to the Jungle ($962 million) and The Greatest Showman ($434 million) thrived via Christmas weekend openings just after Force Awakens, Rogue One and The Last Jedi.

The comparisons for the original trilogy are slightly complicated. While Star Wars was opening to literal blockbuster crowds in 32 theaters over Memorial Day weekend in 1977, Burt Reynolds’ Smokey and the Bandit opened that same Friday for an eventual $127 million domestic gross ($512 million adjusted for inflation) which would spawn a franchise for Universal concurrently with Fox’s game-changing sci-fi adventure. And The Empire Strikes Back opened in just 126 theaters over Memorial Day weekend 1980 (for a $4.91 million opening weekend), Stanley Kubrick’s The Shining was opening in ten theaters for a $622,337 opening weekend. Return of the Jedi opened unopposed in 1,000 theaters over Memorial Day weekend in 1983. It earned $41 million ($117 million adjusted for inflation) over its Wed-Mon launch.

'Star Wars: The Rise of Skywalker'​

Star Wars: The Phantom Menace opened with $105 million over its Wed-Sun debut, a record at the time, ironically alongside only DreamWorks SKG’s The Love Letter, a romantic dramedy co-starring Kate Capshaw, otherwise known as Mrs. Steven Spielberg. Attack of the Clones earned $110 million over its Thurs-Sun debut in May of 2002, opening concurrently with Hugh Grant’s much-liked About A Boy, which would earn $130 million worldwide on a $30 million budget that summer. Revenge of the Sith would open unopposed with $158 million over its Thurs-Sun debut in May of 2005, including a then-record $50 million single-day gross for Thursday. Scratch that, in other slight irony, Warner Bros. buried Paul Schrader’s Dominion: Prequel to the Exorcist in 110 theaters on that same weekend.

Dominion was the original intended version of The Exorcist IV, which was canned with Renny Harlin directing a more commercial version (Exorcist: The Beginning) which would earn $78 million against an $80 million budget the previous summer. Solo: A Star Wars Story opened unopposed over Memorial Day 2018, while The Last Jedi opened with $220 million alongside Fox and Blue Sky’s Ferdinand ($296 million on an $111 million budget) for what would be Blue Sky’s final release outside of the Disney umbrella. Spies in Disguise will open on Christmas Day, arguably as a buffer in case The Rise of Skywalker underperforms overseas. Rogue One opened with $155 million in December of 2016 concurrently with Will Smith’s underrated (fight me) Collateral Beauty bombing with just a $7 million debut.

Oddly enough, The Force Awakens had two big(ish) openers concurrent with its $248 million opening weekend in December of 2015. Universal launched the Tina Fey/Amy Poehler comedy Sisters on the same day as Star Wars VII, and they milked the counterprogramming angle (#YouCanSeeThemBoth) for all it was worth. Cue a $105 million global cume on a $30 million budget. Fox launched Alvin and the Chipmunks: The Road Chip, as the franchise had thrived opening concurrently alongside the likes of I Am Legend, Sherlock Holmes (both installments) and Mission: Impossible - Ghost Protocol. Alas, the fourth time wasn’t the charm, and the Fox flick earned $234 million on a $105 million budget. While not a disaster, it was low enough to signal the end of the series.

'Mamma Mia!'​

Cats will open December 20, 2019 alongside Star Wars: The Rise of Skywalker. The biggest domestic gross for an “opened against a Star Wars” movie is the $127 million gross way back in 1977 of Smokey and the Bandit. While I don’t expect Cats to match that film’s $512 million adjusted-for-inflation domestic totals, a raw domestic cume above the Burt Reynolds smash seems more-than-plausible even amid a crowded family marketplace (Star Wars, Little Women, Spies in Disguise, Jumanji: The Next Level, etc.). The biggest global grosser for an “opened alongside Star Wars” release is, believe it or not, the $234 million cume of Alvin and the Chipmunks: The Road Chip. So, yeah, that seems more-than-plausible as well considering how well Les Misérables and Mamma Mia! performed overseas.

Speaking of Universal’s Mamma Mia!, with $144 million domestic and $609 million worldwide, the Meryl Streep/Pierce Brosnan/Amanda Seyfried adaptation of the ABBA musical smash holds the record for the biggest grosser here and abroad for any film that opened alongside another $500 million-plus domestic or $1 billion-plus worldwide grosser. As you probably recall, it opened on the same day in July of 2018 as both Space Chimps and Chris Nolan’s The Dark Knight. The latter earned $534 million/$1.004 billion in July of 2008. The $144 million domestic cume looks a lot easier than the $609 million global total for this milestone, but (again) much will depend how folks outside of North America care about the end of the Skywalker/Solo Star Wars saga.

Even with the Internet having a grand old time with the Cats marketing, the blow-out success of Aladdin (on digital HD today after earning $354 million domestic and $1.046 billion worldwide) again shows that online mockery and/or Film Twitter conjecture doesn’t do a damn thing as long as general audiences want to see a movie and that said movie delivers on its promises. If Cats delivers a live-action variation of the stage show, complete with an all-star cast and kid-friendly thrills, I imagine it will do quite alright. No matter how well it does, its place as the biggest “opened against a Star Wars” movie will likely be supplanted in three years when Aquaman 2 opens against Disney’s next Star Wars movie in December of 2022.


Fonte
================================================================================================
Resumindo: o Episódio IX vai ter uma concorrência muito forte nas bilheterias! Por isso o filme corre o risco de não ser tão bem sucedido quanto o esperado.

Sério mesmo, Scott? Esse é o motivo pelo qual o filme corre o risco de tomar pau na bilheteria? Vai se foder, puxa-saco dos infernos! É o último filme da outrora maior saga cinematográfica da história. Por si só, isso deveria ser motivo mais que suficiente para o Episódio IX destruir a concorrência de maneira absolutamente humilhante.

Não é para menos que a mídia de acesso, tão bem representada por um palhaço como Mendelson, não é mais levada a sério por ninguém. São literalmente paus mandados dos estúdios, que vivem para puxar o saco em troca de benefícios e acesso antecipado. E quando não conseguem isso, se limitam a fazer críticas politicamente corretas enviesadas até o talo pela ideologia demente que seguem.

Concorrência de filme musical...



Depois do fiasco de Solo, eu já não duvido de mais nada.

 

[RedKnight]

Tão temendo "concorrência" de Cats? Caraio!!!
Piada total, Frozen 2 em Janeiro até vai.

 

[Bloodstained]

E tomem mais Damage Control, reciclando o roteiro de temporadas passadas.


S06E12 - Olha a fadiga de Star Wars aí de novo, gente!


Star Wars: The Rise Of Skywalker May Not Make As Much Money As Everyone Thinks

December is fast approaching and with it will come Star Wars: The Rise of Skywalker, the ninth, and final, installment in the mainline series. However, excitement for the film is a little more tepid than its forerunners.

There are a number of factors at play, but the most pertinent is possibly audience fatigue. When The Force Awakens debuted, it was the start of an ambitious plan from Disney and Lucasfilm. They wanted to release one Star Wars movie a year and though this was initially successful, with the J.J. Abrams-directed seventh entry shattering box office records left and right, the writing was on the wall shortly after.

The Last Jedi and Rogue One, while both incredibly successful, suffered from diminishing returns, with neither able to match the numbers that The Force Awakens posted. What’s more, the former quickly became the most divisive entry in the Star Wars canon. This kind of contentious narrative has now left many fans wary of future entries.

Of course, all this led to the unmitigated flop that was Solo: A Star Wars Story. That movie was a letdown in nearly every category, from the box office to the perfunctory nature of the overall story. It also solidified the fact that audiences were getting tired of traveling to that galaxy far, far away.

Moreover, Rise of Skywalker has some serious competition in the form of Jumanji: The Next Level. That film will, arguably, be targeting the same audience and the previous iteration, 2017s Jumanji: Welcome to the Jungle was a runaway hit and fans have been salivating for more ever since.

Scott Mendelson of Forbes has investigated this dilemma further as well, looking at the historical records and noting that threequels have a tendency to under-perform in relation to their predecessors. The Star Wars conundrum is a little more unique that your average threequel though, as Mendelson notes:

Jumanji: The Next Level plays huge not just as a crowd-pleasing sequel to a surprisingly good predecessor, but as the prime holiday destination for kids, families and general audiences. Ditto Universal’s Cats, Blue Sky’s Spies in Disguise and Sony’s Little Women.
It’s not that The Rise of Skywalker isn’t a big movie, and it remains the biggest movie of the season, give or take Jumanji 3. But, like the last Hobbit sequel (which for the record earned $950 million worldwide), it’s merely the biggest of several big and family-friendly holiday flicks in a crowded season. That’s especially true overseas, where Star Wars mania isn’t as big.
Nonetheless, with all audiences fully aware that this is the final chapter in the Skywalker Saga before Disney tries doing Star Wars without the core characters and core “rebels versus Empire” narrative, will it be treated like Avengers: Endgame or Dark Phoenix?

This is a worthwhile question to ponder, though even Mendelson states that it’s a little “extreme.” Even so, fans and critics alike are holding their breath, wondering whether the hype will once again prove to be worth the wait. Disney has a lot riding on this film and its success will be a big contributor to how the franchise continues, but if one thing’s for certain, it’s that Star Wars is no longer the bulletproof series it once was.


Fonte
============================================================================
Para dar uma polida extra no damage control, ainda citam a concorrência de Cats e Jumanji. Pergunta pertinente: por acaso Avengers: Endgame teve alguma preocupação com a concorrência quando estreou nos cinemas?

Se continuarmos a ver artigos com esse teor, acho seguro afirmar que a Disney está por trás dos panos, usando os puxa-sacos da mídia de acesso para criar justificativas antecipadas para a provável falha do Episódio IX nas bilheterias. É uma vergonha ver que o último capítulo da outrora maior saga cinematográfica já feita não tem forças para se sustentar por conta própria e, mais que isso, é revoltante saber que isso é culpa exclusiva da Disney/Lucasfilm.

Não há perdão para o modo como vilipendiaram Star Wars. Não há pedido de desculpas para o modo como trataram a base de fãs. E se houver algum justiça, também não há esperança para que o Episódio IX seja bem sucedido.

 

[Uzumaki.Luffy]

Jumanji: The Next Level plays huge not just as a crowd-pleasing sequel to a surprisingly good predecessor, but as the prime holiday destination for kids, families and general audiences. Ditto Universal’s Cats, Blue Sky’s Spies in Disguise and Sony’s Little Women.

Até dá pra entender essa "preocupação" dos caras com Jumanji, mas no geral, essa concorrência tá bem fraca.

Eu jamais imaginei que essa franquia ficaria decadente a esse ponto.Eu vou me sentir vingado se esse filme ficar abaixo do um bilhão.Todo castigo é pouco pelo o que a Disney fez de errado com star wars nesses últimos anos.

 

[Goris]

E tomem mais Damage Control, reciclando o roteiro de temporadas passadas.


S06E12 - Olha a fadiga de Star Wars aí de novo, gente!


Star Wars: The Rise Of Skywalker May Not Make As Much Money As Everyone Thinks

December is fast approaching and with it will come Star Wars: The Rise of Skywalker, the ninth, and final, installment in the mainline series. However, excitement for the film is a little more tepid than its forerunners.

There are a number of factors at play, but the most pertinent is possibly audience fatigue. When The Force Awakens debuted, it was the start of an ambitious plan from Disney and Lucasfilm. They wanted to release one Star Wars movie a year and though this was initially successful, with the J.J. Abrams-directed seventh entry shattering box office records left and right, the writing was on the wall shortly after.

The Last Jedi and Rogue One, while both incredibly successful, suffered from diminishing returns, with neither able to match the numbers that The Force Awakens posted. What’s more, the former quickly became the most divisive entry in the Star Wars canon. This kind of contentious narrative has now left many fans wary of future entries.

Of course, all this led to the unmitigated flop that was Solo: A Star Wars Story. That movie was a letdown in nearly every category, from the box office to the perfunctory nature of the overall story. It also solidified the fact that audiences were getting tired of traveling to that galaxy far, far away.

Moreover, Rise of Skywalker has some serious competition in the form of Jumanji: The Next Level. That film will, arguably, be targeting the same audience and the previous iteration, 2017s Jumanji: Welcome to the Jungle was a runaway hit and fans have been salivating for more ever since.

Scott Mendelson of Forbes has investigated this dilemma further as well, looking at the historical records and noting that threequels have a tendency to under-perform in relation to their predecessors. The Star Wars conundrum is a little more unique that your average threequel though, as Mendelson notes:




This is a worthwhile question to ponder, though even Mendelson states that it’s a little “extreme.” Even so, fans and critics alike are holding their breath, wondering whether the hype will once again prove to be worth the wait. Disney has a lot riding on this film and its success will be a big contributor to how the franchise continues, but if one thing’s for certain, it’s that Star Wars is no longer the bulletproof series it once was.


Fonte
============================================================================
Para dar uma polida extra no damage control, ainda citam a concorrência de Cats e Jumaji. Pergunta pertinente: por acaso Avengers: Endgame teve alguma preocupação com a concorrência quando estreou nos cinemas?

Se continuarmos a ver artigos com esse teor, acho seguro afirmar que a Disney está por trás dos panos, usando os puxa-sacos da mídia de acesso para criar justificativas antecipadas para a provável falha do Episódio IX nas bilheterias. É uma vergonha ver que o último capítulo da outrora maior saga cinematográfica já feita não tem forças para se sustentar por conta própria e, mais que isso, é revoltante saber que isso é culpa exclusiva da Disney/Lucasfilm.

Não há perdão para o modo como vilipendiaram Star Wars. Não há pedido de desculpas para o modo como trataram a base de fãs. E se houver algum justiça, também não há esperança para que o Episódio IX seja bem sucedido.

Existe uma regra nos artigos que diz "Os comentários, não leia os comentários". E tem casos que eu endosso, os comentários podem ser horríveis.

Mas...

Pensei em ir lá e falar do embargo dos fãs e... Caras, todo mundo que comenta sabe a m**** que a Disney fez.

Nem precisei comentar

 

[charles_logan22]

Meu se estão com medo do Cats, se preparem para m**** que vem.
E os próprios caras estão assumindo indiretamente.

Enviado de meu MAR-LX1A usando o Tapatalk

 

[Bloodstained]

Quick! Get Rey Some Training!

Recently I wrote about a Marvel writer who publicly admitted that the comics and novels are essentially being used to explain all of the shoddy storytelling in the feature films, and plug in plot holes.

Also recently, Adam Lance Garcia went on a silly rant about how Luke didn’t have any training either. Although I easily discredited that nonsense with widely available facts, primarily the content in the actual films.

But Adam may have to grit his teeth, because it appears that Lucasfilm is acknowledging the fact that Rey’s lack of training is a problem. They’re now going to fix it and give her some quick training before Episode IX pollutes theaters, probably in the futile hope that this Mary Sue then won’t seem as silly as she is.

​

Fonte

 

[Bat Esponja]

E tomem mais Damage Control, reciclando o roteiro de temporadas passadas.


S06E12 - Olha a fadiga de Star Wars aí de novo, gente!


Star Wars: The Rise Of Skywalker May Not Make As Much Money As Everyone Thinks

December is fast approaching and with it will come Star Wars: The Rise of Skywalker, the ninth, and final, installment in the mainline series. However, excitement for the film is a little more tepid than its forerunners.

There are a number of factors at play, but the most pertinent is possibly audience fatigue. When The Force Awakens debuted, it was the start of an ambitious plan from Disney and Lucasfilm. They wanted to release one Star Wars movie a year and though this was initially successful, with the J.J. Abrams-directed seventh entry shattering box office records left and right, the writing was on the wall shortly after.

The Last Jedi and Rogue One, while both incredibly successful, suffered from diminishing returns, with neither able to match the numbers that The Force Awakens posted. What’s more, the former quickly became the most divisive entry in the Star Wars canon. This kind of contentious narrative has now left many fans wary of future entries.

Of course, all this led to the unmitigated flop that was Solo: A Star Wars Story. That movie was a letdown in nearly every category, from the box office to the perfunctory nature of the overall story. It also solidified the fact that audiences were getting tired of traveling to that galaxy far, far away.

Moreover, Rise of Skywalker has some serious competition in the form of Jumanji: The Next Level. That film will, arguably, be targeting the same audience and the previous iteration, 2017s Jumanji: Welcome to the Jungle was a runaway hit and fans have been salivating for more ever since.

Scott Mendelson of Forbes has investigated this dilemma further as well, looking at the historical records and noting that threequels have a tendency to under-perform in relation to their predecessors. The Star Wars conundrum is a little more unique that your average threequel though, as Mendelson notes:




This is a worthwhile question to ponder, though even Mendelson states that it’s a little “extreme.” Even so, fans and critics alike are holding their breath, wondering whether the hype will once again prove to be worth the wait. Disney has a lot riding on this film and its success will be a big contributor to how the franchise continues, but if one thing’s for certain, it’s that Star Wars is no longer the bulletproof series it once was.


Fonte
============================================================================
Para dar uma polida extra no damage control, ainda citam a concorrência de Cats e Jumaji. Pergunta pertinente: por acaso Avengers: Endgame teve alguma preocupação com a concorrência quando estreou nos cinemas?

Se continuarmos a ver artigos com esse teor, acho seguro afirmar que a Disney está por trás dos panos, usando os puxa-sacos da mídia de acesso para criar justificativas antecipadas para a provável falha do Episódio IX nas bilheterias. É uma vergonha ver que o último capítulo da outrora maior saga cinematográfica já feita não tem forças para se sustentar por conta própria e, mais que isso, é revoltante saber que isso é culpa exclusiva da Disney/Lucasfilm.

Não há perdão para o modo como vilipendiaram Star Wars. Não há pedido de desculpas para o modo como trataram a base de fãs. E se houver algum justiça, também não há esperança para que o Episódio IX seja bem sucedido.

Então Jumanji tem chance de dar pau em Star Wars na China de novo?

 

[Darth_Tyranus]

Meu se estão com medo do Cats, se preparem para m**** que vem.
E os próprios caras estão assumindo indiretamente.

Enviado de meu MAR-LX1A usando o Tapatalk

Primeiro tivemos aqueles vazamentos que mostravam um roteiro completamente bizarro. Depois a notícia de refilmagens a 4 meses do lançamento. Agora matéria mostrando que estão com medo de um musical que recebeu severas críticas na internet por conta do CGI estranho bater a maior franquia do cinema no século XX e início do XXI.

É sério isso? Acredito que não conseguiam consertar o filme a tempo. O dano de The Last Jedi é irrecuperável.

 

[Goris]

Quick! Get Rey Some Training!

Recently I wrote about a Marvel writer who publicly admitted that the comics and novels are essentially being used to explain all of the shoddy storytelling in the feature films, and plug in plot holes.

Also recently, Adam Lance Garcia went on a silly rant about how Luke didn’t have any training either. Although I easily discredited that nonsense with widely available facts, primarily the content in the actual films.

But Adam may have to grit his teeth, because it appears that Lucasfilm is acknowledging the fact that Rey’s lack of training is a problem. They’re now going to fix it and give her some quick training before Episode IX pollutes theaters, probably in the futile hope that this Mary Sue then won’t seem as silly as she is.

​

Fonte

23:59 - Deixe o passado morrer, não precisamos dos fãs antigos.
00:01 - Veja, fãs, estamos fazendo tudo que achamos que vcs querem, menos escutar vocês.

 

[Goris]

Primeiro tivemos aqueles vazamentos que mostravam um roteiro completamente bizarro. Depois a notícia de refilmagens a 4 meses do lançamento. Agora matéria mostrando que estão com medo de um musical que recebeu severas críticas na internet por conta do CGI estranho que bater a maior franquia do cinema no século XX e início do XXI.

É sério isso? Acredito que não conseguiam consertar o filme a tempo. O dano de The Last Jedi é irrecuperável.

Cara, 90% desse dano teria sido minimizado se, após os fãs reclamarem, ao invés de a Disney atacar os fãs, tivesse simplesmente aceito o erro, pedido desculpas, feito um Público Relations maroto no melhor estilo "A gente errou, vamos trazer George Lucas pro próximo filme ser o que vocês queriam" e pronto.

Mais uns damage Control inteligentes, algo raro na Disney, no melhor estilo " Luke morreu? Ninguém viu ele morrer, ele desapareceu... Isso significa que ele morreu? Com um mestre Jedi, nunca se sabe...". Depois soltava uns "Kylo Ren matou matade dos alunos e levou a outra metade... Será?".

E nisso era só desfazer, devagar pra não dar na cara, todas as cagadas de The Last Jedi, o próximo filme ia começar ruim? Ia. Mas eu acho que ainda teria boa vontade dos fãs pra ir assistir pensando "O Ryan Johnson estragou o filme, tomara que do sigam salvar ele". A atitude da KK de salvar o soyboy pode ser elogiável sob um aspecto. Mas ela ter atirado contra os fãs... Que péssima jogada.

Enfim, o filme começaria cheio de problemas, mas no fim, tinha uma chance de levar os fãs pra ao menos dizerem que acompanharam o final da trilogia.

Vamos ver como os fãs vão agir, se terao colhões de não ir ver. Eu não vou .

 

[chubilubi]

"Audience Fatigue" hahahaahhahahahaha tá certo!
Estamos mesmo cansados de tanta m**** non-sense.
Obrigado por perceberem.

 

[Iron_Sword]

Quick! Get Rey Some Training!

Recently I wrote about a Marvel writer who publicly admitted that the comics and novels are essentially being used to explain all of the shoddy storytelling in the feature films, and plug in plot holes.

Also recently, Adam Lance Garcia went on a silly rant about how Luke didn’t have any training either. Although I easily discredited that nonsense with widely available facts, primarily the content in the actual films.

But Adam may have to grit his teeth, because it appears that Lucasfilm is acknowledging the fact that Rey’s lack of training is a problem. They’re now going to fix it and give her some quick training before Episode IX pollutes theaters, probably in the futile hope that this Mary Sue then won’t seem as silly as she is.

​

Fonte

Alguém me diga que esses quadrinhos não são oficias... pq se for, put* m****, que coisa mais amadora, parece tirinha de jornal de bairro huahauahuhauahuhauhuahuhauhua

 

[Bloodstained]

23:59 - Deixe o passado morrer, não precisamos dos fãs antigos.
00:01 - Veja, fãs, estamos fazendo tudo que achamos que vcs querem, menos escutar vocês.

Sem contar que estão utilizando quadrinhos, livros e até games para corrigir os furos dos roteiros porcos dos filmes.


One of The Force Awakens Biggest Blunders Gets Fixed in New Star Wars Comic

At long last, one of the most egregious issues with Star Wars: The Force Awakens has been addressed. While certain fans had some issues with J.J. Abrams' Episode VII, there was a strong sense of hope and excitement surrounding the relaunched version of the franchise. But virtually every fan, no matter what side of the fence they stand on, can agree that it was criminal for Leia to hug Rey instead of Chewie following Han's death. Now, thanks to a new comic book, that wrongdoing has been amended.

Warning: spoilers ahead for Star Wars: Age of Resistance: Rey #1. Writer Tom Taylor recently shared a couple of panels from his most recent Marvel Comics entry in the Age of Resistance line. This issue focuses on Rey and takes place roughly after the main events of The Force Awakens, but before the young Force users makes her way to Luke. Taylor had this to say about the book, acknowledging the error that was made when Rey stepped off the Falcon and hugged Leia after Starkiller Base was destroyed, something Han gave his life to accomplish. Chewie, meanwhile, got snubbed.

"Leia and Chewie didn't hug on screen after Han's death. In #StarWars Age of Resistance: Rey #1, we fixed that. Today, we've brought balance. The hug is canon now."

As we see in the pages shared by the writer, Chewbacca and Leia are inside the Resistance base holding one another tightly. Leia remarks that she can no longer cry on his shoulder, implying many tears have been shed over Han. Chewie, Han's faithful co-pilot and friend, looks devastated, but then dutifully goes to prep the Falcon for their journey to find Luke. Rey then walks in and is greeted by the following, tear-jerking line from Leia.

"Sorry if you were waiting a while. A hug with a Wookiee lasts as long as the Wookiee wants it to last."

In the entire galaxy, no two people were closer to Han than Leia and Chewie. Leia as the love of his life and Chewie as his trusty partner. Many fans took issue with the fact that Rey, who undoubtedly bonded with Han quickly, but had just met him, got to hug Leia instead of Chewie. Understandably so. However, this comic book is canon and does provide some closure on that front. They got their moment.

Meanwhile, J.J. Abrams is hard at work on The Rise of Skywalker, the finale to this sequel trilogy, which will also mark Carrie Fisher's last appearance as Leia, since she passed away prior to the release of The Last Jedi. Abrams is making use of unused footage from the previous two movies to accomplish that feat. Perhaps Chewie and Leia will get a nice, final moment on the big screen this December? Star Wars: Age of Resistance: Rey #1 is on sale now from Marvel Comics. Be sure to check out the comic book pages from Tom Taylor's Twitter account.

​

Fonte
============================================================================
10 Controversial Last Jedi Moments FIXED By The Comic

27 'Star Wars: The Force Awakens' questions answered by the novel

Star Wars: Battlefront 2 Fixes a Big Last Jedi Plot Hole

Essas merdas se tornaram literalmente patches para os roteiros cagados dos filmes.

Alguém me diga que esses quadrinhos não são oficias... pq se for, put* m****, que coisa mais amadora, parece tirinha de jornal de bairro huahauahuhauahuhauhuahuhauhua

Eu poderia dizer que não são oficiais... mas eu estaria mentindo. Essa história aí foi publicada pela IDW, então é devidamente licenciada.

 

[Bat Esponja]

Sem contar que estão utilizando quadrinhos, livros e até games para corrigir os furos dos roteiros porcos dos filmes.


One of The Force Awakens Biggest Blunders Gets Fixed in New Star Wars Comic

At long last, one of the most egregious issues with Star Wars: The Force Awakens has been addressed. While certain fans had some issues with J.J. Abrams' Episode VII, there was a strong sense of hope and excitement surrounding the relaunched version of the franchise. But virtually every fan, no matter what side of the fence they stand on, can agree that it was criminal for Leia to hug Rey instead of Chewie following Han's death. Now, thanks to a new comic book, that wrongdoing has been amended.

Warning: spoilers ahead for Star Wars: Age of Resistance: Rey #1. Writer Tom Taylor recently shared a couple of panels from his most recent Marvel Comics entry in the Age of Resistance line. This issue focuses on Rey and takes place roughly after the main events of The Force Awakens, but before the young Force users makes her way to Luke. Taylor had this to say about the book, acknowledging the error that was made when Rey stepped off the Falcon and hugged Leia after Starkiller Base was destroyed, something Han gave his life to accomplish. Chewie, meanwhile, got snubbed.




As we see in the pages shared by the writer, Chewbacca and Leia are inside the Resistance base holding one another tightly. Leia remarks that she can no longer cry on his shoulder, implying many tears have been shed over Han. Chewie, Han's faithful co-pilot and friend, looks devastated, but then dutifully goes to prep the Falcon for their journey to find Luke. Rey then walks in and is greeted by the following, tear-jerking line from Leia.




In the entire galaxy, no two people were closer to Han than Leia and Chewie. Leia as the love of his life and Chewie as his trusty partner. Many fans took issue with the fact that Rey, who undoubtedly bonded with Han quickly, but had just met him, got to hug Leia instead of Chewie. Understandably so. However, this comic book is canon and does provide some closure on that front. They got their moment.

Meanwhile, J.J. Abrams is hard at work on The Rise of Skywalker, the finale to this sequel trilogy, which will also mark Carrie Fisher's last appearance as Leia, since she passed away prior to the release of The Last Jedi. Abrams is making use of unused footage from the previous two movies to accomplish that feat. Perhaps Chewie and Leia will get a nice, final moment on the big screen this December? Star Wars: Age of Resistance: Rey #1 is on sale now from Marvel Comics. Be sure to check out the comic book pages from Tom Taylor's Twitter account.

​

Fonte
============================================================================
10 Controversial Last Jedi Moments FIXED By The Comic

27 'Star Wars: The Force Awakens' questions answered by the novel

Star Wars: Battlefront 2 Fixes a Big Last Jedi Plot Hole

Essas merdas se tornaram literalmente patches para os roteiros cagados dos filmes.


Eu poderia dizer que não são oficiais... mas eu estaria mentindo. Essa história aí foi publicada pela IDW, então é devidamente licenciada.

Pelo visto quem faz as novels/hqs gosta tanto do Rian Johnson que tem como filosofia fazer o que ele faz mas no extremo oposto

 

[Bloodstained]

Vocês já puderam testemunhar o nível de puxa-saquismo da famigerada mídia de acesso aqui no tópico inúmeras vezes. Porém, raras vezes vi um artigo tão descarado no puxa-saquismo quanto o que se encontra abaixo, como o mais novo episódio de Damage Control.


S06E13 - Porque os fãs de Star Wars odeiam tanto Rian Johnson? A visão dele para a saga é melhor que a de George Lucas!


Why Do ‘Star Wars’ Fans Hate Rian Johnson So Much?

Taking on the directorial role for a Star Wars movie is almost as risky as becoming President of the United States for obvious reasons. You basically find yourself between a rock and a hard place in pleasing your constituents while still inspiring newcomers to accept you.

Such was the case for Rian Johnson stepping in to direct The Last Jedi several years ago. Because he took the Skywalker saga in new and almost shocking directions, the backlash was more than a little intense on social media, including people attacking him there.

Fortunately, Johnson didn’t leave Twitter. He has a specific way to respond to fans and also has a lot of other cinematic aces up his sleeve in the months to come. It may be enough to redeem himself to Star Wars fans if he begins another trilogy at the turn of the decade.


What’s the beef with the ‘Star Wars‘ community?

You’ll find numerous essays over the last couple of years about what bothered Star Wars fans when Rian Johnson made TLJ. Most reasons were because he went far and above what fans expected and took the story into left field, including surprising arcs for the main characters.

Taking hold of a major media property and going against fan wishes is true bravery. However, it tells something a bit chilling about how many fantasy movie properties are more or less claimed by the fans with adamant demands on where the direction of the stories should go.

We all saw what happened to George Lucas when he went against the canon of what many fans wanted the prequels to be. Fans simply couldn’t accept his own vision, which was admittedly weaker than what Rian Johnson came up with anyway.

Maybe you can blame the advent of fan fiction in the online age. Also, with countless Star Wars novels written by others, you could say this franchise was hijacked by others and taken in various directions not everyone could agree to.


Some fans will never forgive Johnson for ‘The Last Jedi’

The true diehard Star Wars fans still aren’t happy with TLJ for him killing off Luke and the trajectory of Rey as just starters. At the same time, you’ll find other fans who say it helped set up a bigger creative challenge for upcoming The Rise of Skywalker. J.J. Abrams has already stepped up to make this happen, and we have a feeling some major curveballs are going to be thrown when it releases in December.

Before then, though, Johnson is going to be having a new movie out already being hailed as a masterpiece at recent film festivals. Knives Out will likely remind everyone of how brilliant of a filmmaker Johnson is.

He’ll be taking the old Agatha Christie formula of the ensemble murder mystery and offering some daring, new twists.

In other words, Johnson is truly a rule-breaker, something not always going over well in fan communities or even in Hollywood itself. We’re pretty sure Knives Out will do well at the box office, though, thanks to its all-star cast. There’s a good bet it’ll set Johnson up for redeeming himself within the Star Wars community if his proposed new trilogy has a green light.


Maybe Johnson won’t direct more ‘Star Wars’ after all

​

A recent report says Rian Johnson isn’t really sure if he’ll be directing a new Star Wars so soon since the schedule isn’t quite worked out yet. At the moment, there’s a tossup about whether he’ll go first or if David Benioff and D.B. Weiss will do their trilogy starting in 2022.

If we had any say in the matter, we’d say Johnson should wait even longer before revisiting Star Wars. Doing so helps further prove him as a innovative filmmaker as he already has before TLJ thanks to sci-fi films like Looper.

Not that he can’t handle all the critical Star Wars fans with his affable social media approach. Considering he’s always open to conversations on Twitter, he’s been able to quell the tidal waves of criticism as a form of a miracle.

Waiting more years to revisit the galaxy far, far away will give more time and distance so he can provide something refreshing rather than feel like he’s crashing a party where he’s no longer welcome.


Fonte
================================================================================================
Esse cara deve estar comendo o Ruin Johnson quando Kathleen Kennedy está ocupada e não pode fazê-lo. Porém, sou forçado a concordar com uma frase desse texto: "Alguns fãs jamais irão perdoar Johnson por The Last Jedi." No mais, a única consideração que tenho a respeito de todo o restante é essa aqui:

​

 

[Iron_Sword]

Sem contar que estão utilizando quadrinhos, livros e até games para corrigir os furos dos roteiros porcos dos filmes.


One of The Force Awakens Biggest Blunders Gets Fixed in New Star Wars Comic

At long last, one of the most egregious issues with Star Wars: The Force Awakens has been addressed. While certain fans had some issues with J.J. Abrams' Episode VII, there was a strong sense of hope and excitement surrounding the relaunched version of the franchise. But virtually every fan, no matter what side of the fence they stand on, can agree that it was criminal for Leia to hug Rey instead of Chewie following Han's death. Now, thanks to a new comic book, that wrongdoing has been amended.

Warning: spoilers ahead for Star Wars: Age of Resistance: Rey #1. Writer Tom Taylor recently shared a couple of panels from his most recent Marvel Comics entry in the Age of Resistance line. This issue focuses on Rey and takes place roughly after the main events of The Force Awakens, but before the young Force users makes her way to Luke. Taylor had this to say about the book, acknowledging the error that was made when Rey stepped off the Falcon and hugged Leia after Starkiller Base was destroyed, something Han gave his life to accomplish. Chewie, meanwhile, got snubbed.




As we see in the pages shared by the writer, Chewbacca and Leia are inside the Resistance base holding one another tightly. Leia remarks that she can no longer cry on his shoulder, implying many tears have been shed over Han. Chewie, Han's faithful co-pilot and friend, looks devastated, but then dutifully goes to prep the Falcon for their journey to find Luke. Rey then walks in and is greeted by the following, tear-jerking line from Leia.




In the entire galaxy, no two people were closer to Han than Leia and Chewie. Leia as the love of his life and Chewie as his trusty partner. Many fans took issue with the fact that Rey, who undoubtedly bonded with Han quickly, but had just met him, got to hug Leia instead of Chewie. Understandably so. However, this comic book is canon and does provide some closure on that front. They got their moment.

Meanwhile, J.J. Abrams is hard at work on The Rise of Skywalker, the finale to this sequel trilogy, which will also mark Carrie Fisher's last appearance as Leia, since she passed away prior to the release of The Last Jedi. Abrams is making use of unused footage from the previous two movies to accomplish that feat. Perhaps Chewie and Leia will get a nice, final moment on the big screen this December? Star Wars: Age of Resistance: Rey #1 is on sale now from Marvel Comics. Be sure to check out the comic book pages from Tom Taylor's Twitter account.

​

Fonte
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10 Controversial Last Jedi Moments FIXED By The Comic

27 'Star Wars: The Force Awakens' questions answered by the novel

Star Wars: Battlefront 2 Fixes a Big Last Jedi Plot Hole

Essas merdas se tornaram literalmente patches para os roteiros cagados dos filmes.


Eu poderia dizer que não são oficiais... mas eu estaria mentindo. Essa história aí foi publicada pela IDW, então é devidamente licenciada.

Acho bem ridículo esse tipo de "correção", o próprio Abrams assumiu que errou na cena, então segue em frente. Mas não, vão lá e fazem esse troço ridículo... A correção feita pra entrega da medalha, que foi mencionada no mesmo tweet, tbm foi bem desnecessária, mas no caso foi pra corrigir algo de um filme que tinha uma produção bem menor e problemática, e era o primeiro filme, nem se sabia se sairiam outros, fora que é uma hq de 1980, na época nem tinham ideia de criar um universo expandido, foi mais algo bobo mesmo.

Pelo menos essa hq do "abraço" é mais bem produzida do que aquela da Rey "treinando". Um projeto multimidia bilhonário sendo feito com essa qualidade porca, coisa vergonhosa.

 

[Goris]

Vocês já puderam testemunhar o nível de puxa-saquismo da famigerada mídia de acesso aqui no tópico inúmeras vezes. Porém, raras vezes vi um artigo tão descarado no puxa-saquismo quanto o que se encontra abaixo, como o mais novo episódio de Damage Control.


S06E13 - Porque os fãs de Star Wars odeiam tanto Rian Johnson? A visão dele para a saga é melhor que a de George Lucas!


Why Do ‘Star Wars’ Fans Hate Rian Johnson So Much?

Taking on the directorial role for a Star Wars movie is almost as risky as becoming President of the United States for obvious reasons. You basically find yourself between a rock and a hard place in pleasing your constituents while still inspiring newcomers to accept you.

Such was the case for Rian Johnson stepping in to direct The Last Jedi several years ago. Because he took the Skywalker saga in new and almost shocking directions, the backlash was more than a little intense on social media, including people attacking him there.

Fortunately, Johnson didn’t leave Twitter. He has a specific way to respond to fans and also has a lot of other cinematic aces up his sleeve in the months to come. It may be enough to redeem himself to Star Wars fans if he begins another trilogy at the turn of the decade.


What’s the beef with the ‘Star Wars‘ community?

You’ll find numerous essays over the last couple of years about what bothered Star Wars fans when Rian Johnson made TLJ. Most reasons were because he went far and above what fans expected and took the story into left field, including surprising arcs for the main characters.

Taking hold of a major media property and going against fan wishes is true bravery. However, it tells something a bit chilling about how many fantasy movie properties are more or less claimed by the fans with adamant demands on where the direction of the stories should go.

We all saw what happened to George Lucas when he went against the canon of what many fans wanted the prequels to be. Fans simply couldn’t accept his own vision, which was admittedly weaker than what Rian Johnson came up with anyway.

Maybe you can blame the advent of fan fiction in the online age. Also, with countless Star Wars novels written by others, you could say this franchise was hijacked by others and taken in various directions not everyone could agree to.


Some fans will never forgive Johnson for ‘The Last Jedi’

The true diehard Star Wars fans still aren’t happy with TLJ for him killing off Luke and the trajectory of Rey as just starters. At the same time, you’ll find other fans who say it helped set up a bigger creative challenge for upcoming The Rise of Skywalker. J.J. Abrams has already stepped up to make this happen, and we have a feeling some major curveballs are going to be thrown when it releases in December.

Before then, though, Johnson is going to be having a new movie out already being hailed as a masterpiece at recent film festivals. Knives Out will likely remind everyone of how brilliant of a filmmaker Johnson is.

He’ll be taking the old Agatha Christie formula of the ensemble murder mystery and offering some daring, new twists.

In other words, Johnson is truly a rule-breaker, something not always going over well in fan communities or even in Hollywood itself. We’re pretty sure Knives Out will do well at the box office, though, thanks to its all-star cast. There’s a good bet it’ll set Johnson up for redeeming himself within the Star Wars community if his proposed new trilogy has a green light.


Maybe Johnson won’t direct more ‘Star Wars’ after all

​

A recent report says Rian Johnson isn’t really sure if he’ll be directing a new Star Wars so soon since the schedule isn’t quite worked out yet. At the moment, there’s a tossup about whether he’ll go first or if David Benioff and D.B. Weiss will do their trilogy starting in 2022.

If we had any say in the matter, we’d say Johnson should wait even longer before revisiting Star Wars. Doing so helps further prove him as a innovative filmmaker as he already has before TLJ thanks to sci-fi films like Looper.

Not that he can’t handle all the critical Star Wars fans with his affable social media approach. Considering he’s always open to conversations on Twitter, he’s been able to quell the tidal waves of criticism as a form of a miracle.

Waiting more years to revisit the galaxy far, far away will give more time and distance so he can provide something refreshing rather than feel like he’s crashing a party where he’s no longer welcome.


Fonte
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Esse cara deve estar comendo o Ruin Johnson quando Kathleen Kennedy está ocupada e não pode fazê-lo. Porém, sou forçado a concordar com uma frase desse texto: "Alguns fãs jamais irão perdoar Johnson por The Last Jedi." No mais, a única consideração que tenho a respeito de todo o restante é essa aqui:

​

Que lixo, cara. Fui lá (acabei dando view) e nem tinha comentários pra milhares de pessoas falarem mal do texto?

 

[Bloodstained]

Rapaz, Damage Control está fora de controle nesses últimos dias... Num primeiro momento, pensei que era exclusivamente por conta do Episódio IX, mas lembrei que há outra coisa importante para a Disney no final desse mês: o encerramento do quarto trimestre do ano fiscal.

Logo virá um relatório recheado de dados para os acionistas e, por conta do possível desempenho pífio de Star Wars, estamos tendo uma overdose de controle de danos. E tome mais desculpas (utilizadas em outros carnavais, diga-se de passagem) para justificar o injustificável.


S06E14 - Os resultados pífios não tem nada a ver com nosso gerenciamento porco: a fadiga de Star Wars é a culpada!


Disney's First Star Wars Plans Were "Too Much, Too Fast" According to Chairman Bob Iger

There have been plenty of criticisms about the Star Wars franchise ever since Disney purchased Lucasfilm nearly five years ago. Even though the franchise has made billions of dollars at the box office, dominated home video sales, produced fan-favorite animated series, and is set to expand into live-action shows with the creation of Disney+, the disappointing box office of Solo: A Star Wars Story along with the divisive response to Star Wars: The Last Jedi has caused some vitriol from fans. And with the lackluster response to the Star Wars: Galaxy's Edge expansion at Disneyland this year, it seems like Disney chairman Bob Iger agrees.

During an interview with the New York Times released this weekend, Iger admitted that they might have overextended with the Star Wars franchise, possibly getting too ambitious after the Lucasfilm purchase was finalized.

"I just think that we might’ve put a little bit too much in the marketplace too fast," explained Iger. "I think the storytelling capabilities of the company are endless because of the talent we have at the company, and the talent we have at the company is better than it’s ever been, in part because of the influx of people from Fox."

Lucasfilm's initial plan for the franchise included finishing the Skywalker Saga with new installments of a trilogy released every other year, while the anthology films under the banner of "A Star Wars Story" would premiere in between. But after Rogue One and Solo, Disney backed off of that frequency and instead shifted their focus to new live-action shows coming to the Disney+ streaming service.

Earlier this year, Lucasfilm President Kathleen Kennedy expressed a need for a different approach, revealing their strategy would shift with the upcoming release of The Mandalorian and Star Wars: The Rise of Skywalker.

"I think there is a larger expectation that Disney has, Kennedy said to Vanity Fair. "On the other hand, though, I think that Disney is very respectful of what this is, and right from the beginning we talked about the fragility of this form of storytelling. Because it’s something that means so much to fans that you can’t turn this into some kind of factory approach. You can’t even do what Marvel does, necessarily, where you pick characters and build new franchises around those characters. This needs to evolve differently."

Star Wars: The Rise of Skywalker premieres in theaters on December 20th.


Fonte
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A única fadiga que os espectadores sentem, diz respeito a filmes ruins coalhados com a ideologia preferida de Hollywood, Iger.

E agora você vai fazer o impossível para confinar Star Wars no Disney+, já que lá não há flop de bilheteria, né? Dependendo como for, não dará para ver nem mesmo a avaliação e os comentários da audiência, o que é perfeito para ocultar que a Disney deixou Star Wars em frangalhos. E você ainda quer vender isso como se fosse uma forma de evoluir a franquia de uma maneira diferente... Viva o controle de danos, Iger!

Que lixo, cara. Fui lá (acabei dando view) e nem tinha comentários pra milhares de pessoas falarem mal do texto?

Você acha mesmo que o puto tem interesse em ouvir qualquer opinião contrária à dele? O controle de danos já está feito e, agora, só resta ao desgraçado esperar seu ingresso para o Galaxy's Edge, o acesso antecipado à exibição do Episódio IX ou algo do gênero.

 

[Goris]

A única fadiga que os espectadores sentem, diz respeito a filmes ruins coalhados com a ideologia preferida de Hollywood, Iger.

E agora você vai fazer o impossível para confinar Star Wars no Disney+, já que lá não há flop de bilheteria, né? Dependendo como for, não dará para ver nem mesmo a avaliação e os comentários da audiência, o que é perfeito para ocultar que a Disney deixou Star Wars em frangalhos. E você ainda quer vender isso como se fosse uma forma de evoluir a franquia de uma maneira diferente... Viva o controle de danos, Iger!

É vergonha alheia que chama, né? Quando você vê outra pessoa falhar de tal forma que a vergonha ultrapassa certo limite?
Os damage control tão nessa linha.

Você acha mesmo que o puto tem interesse em ouvir qualquer opinião contrária à dele? O controle de danos já está feito e, agora, só resta ao desgraçado esperar seu ingresso para o Galaxy's Edge, o acesso antecipado à exibição do Episódio IX ou algo do gênero.

Humpf...

Um mínimo de honestidade é sempre legal... Mas percebi que muitos grandes portais estão diminuindo a possibilidade de os fãs interagirem, porque entre a opinião que eles tem e o que os fãs dizem, preferem a opiniao.

O foda é ler "Por que os fãs de Star Wars odeiam Ryan Johnson" e não ter a opinião dos fãs, mas a opinião de alguém que acha que sabe o que os fãs pensam.

 

[Uzumaki.Luffy]

Rapaz, Damage Control está fora de controle nesses últimos dias... Num primeiro momento, pensei que era exclusivamente por conta do Episódio IX, mas lembrei que há outra coisa importante para a Disney no final desse mês: o encerramento do quarto trimestre do ano fiscal.

Logo virá um relatório recheado de dados para os acionistas e, por conta do possível desempenho pífio de Star Wars, estamos tendo uma overdose de controle de danos. E tome mais desculpas (utilizadas em outros carnavais, diga-se de passagem) para justificar o injustificável.


S06E14 - Os resultados pífios não tem nada a ver com nosso gerenciamento porco: a fadiga de Star Wars é a culpada!


Disney's First Star Wars Plans Were "Too Much, Too Fast" According to Chairman Bob Iger

There have been plenty of criticisms about the Star Wars franchise ever since Disney purchased Lucasfilm nearly five years ago. Even though the franchise has made billions of dollars at the box office, dominated home video sales, produced fan-favorite animated series, and is set to expand into live-action shows with the creation of Disney+, the disappointing box office of Solo: A Star Wars Story along with the divisive response to Star Wars: The Last Jedi has caused some vitriol from fans. And with the lackluster response to the Star Wars: Galaxy's Edge expansion at Disneyland this year, it seems like Disney chairman Bob Iger agrees.

During an interview with the New York Times released this weekend, Iger admitted that they might have overextended with the Star Wars franchise, possibly getting too ambitious after the Lucasfilm purchase was finalized.

"I just think that we might’ve put a little bit too much in the marketplace too fast," explained Iger. "I think the storytelling capabilities of the company are endless because of the talent we have at the company, and the talent we have at the company is better than it’s ever been, in part because of the influx of people from Fox."

Lucasfilm's initial plan for the franchise included finishing the Skywalker Saga with new installments of a trilogy released every other year, while the anthology films under the banner of "A Star Wars Story" would premiere in between. But after Rogue One and Solo, Disney backed off of that frequency and instead shifted their focus to new live-action shows coming to the Disney+ streaming service.

Earlier this year, Lucasfilm President Kathleen Kennedy expressed a need for a different approach, revealing their strategy would shift with the upcoming release of The Mandalorian and Star Wars: The Rise of Skywalker.

"I think there is a larger expectation that Disney has, Kennedy said to Vanity Fair. "On the other hand, though, I think that Disney is very respectful of what this is, and right from the beginning we talked about the fragility of this form of storytelling. Because it’s something that means so much to fans that you can’t turn this into some kind of factory approach. You can’t even do what Marvel does, necessarily, where you pick characters and build new franchises around those characters. This needs to evolve differently."

Star Wars: The Rise of Skywalker premieres in theaters on December 20th.


Fonte
================================================================================================
A única fadiga que os espectadores sentem, diz respeito a filmes ruins coalhados com a ideologia preferida de Hollywood, Iger.

E agora você vai fazer o impossível para confinar Star Wars no Disney+, já que lá não há flop de bilheteria, né? Dependendo como for, não dará para ver nem mesmo a avaliação e os comentários da audiência, o que é perfeito para ocultar que a Disney deixou Star Wars em frangalhos. E você ainda quer vender isso como se fosse uma forma de evoluir a franquia de uma maneira diferente... Viva o controle de danos, Iger!


Você acha mesmo que o puto tem interesse em ouvir qualquer opinião contrária à dele? O controle de danos já está feito e, agora, só resta ao desgraçado esperar seu ingresso para o Galaxy's Edge, o acesso antecipado à exibição do Episódio IX ou algo do gênero.

Eu já to até imaginando a bizarrice que será os damage control do mês de dezembro, principalmente se a bilheteria não for o que a Disney tá esperando.

 

[Bloodstained]

Bob Iger, o manda chuva da Disney, lançou sua autobiografia ontem. Nela há uma passagem que traz detalhes sobre a aquisição de Star Wars, bem como os primeiros passos que o Mickey tomou no gerenciamento da franquia. Vocês podem ler essa passagem abaixo:

​

A conclusão é a seguinte: Star Wars estava condenado a perecer nas mãos da Disney desde o início. Não seguiram as diretrizes sugeridas por Lucas para a trilogia, não modificaram The Force Awakens quando ele mostrou seu descontentamento com o filme e, no final das contas, Iger, Kathleen Kennedy e Jar Jar Abrams concordaram em levar a franquia para uma "nova direção" (um eufemismo bonitinho para "injeção brutal da agenda progressista", como bem sabemos).

Esse sentimento de alienação que os fãs de Star Wars possuem em relação à aberração sequelada criada pela Disney, foi experimentado em primeira mão por George Lucas. Esnobado pelos palhaços com os quais estava reunido, Lucas se resignou ao silêncio (talvez isso seja decorrente de alguma obrigação contratual), mas desde aquele momento, ele soube que Star Wars havia morrido. A partir de então, Lucas deve estar observando a agonia da franquia com uma satisfação mórbida, por ter a certeza de que, mesmo em silêncio, ele conseguiu a desforra que merecia após ser esnobado.

 

[Labate_C]

Alguma m**** com a tia deu.
Doeu no bolso e ações estão sendo tomadas

Disney escalou o Kevin Feige para cuidar de um novo filme de Star Wars


Enviado do meu iPhone usando Tapatalk

 

[Goris]

Alguma m**** com a tia deu.
Doeu no bolso e ações estão sendo tomadas

Disney escalou o Kevin Feige para cuidar de um novo filme de Star Wars

Sério isso???????

Yes!

 

[Goris]

The Verge

Yep!

Parece que decidiram dar um pé na bunda da vadia, mas claro que não iriam dizer na cara, já que chamar uma mulher que tornou a força feminista é correr o risco de ser criticado pela legião de NPCs.

Olha, a Marvel nos cinemas não é unanimidade, mas admiro o trabalho executado, apesar de erros aqui e ali, que deu como resultado uns 10 anos depois de começar.

O cara parece ser a melhor opção. Torço pra ele consertar a franquia depois dessa trilogia terrível.

 

[Bloodstained]

Alguma m**** com a tia deu.
Doeu no bolso e ações estão sendo tomadas

Disney escalou o Kevin Feige para cuidar de um novo filme de Star Wars


Enviado do meu iPhone usando Tapatalk

The Verge

Yep!

Parece que decidiram dar um pé na bunda da vadia, mas claro que não iriam dizer na cara, já que chamar uma mulher que tornou a força feminista é correr o risco de ser criticado pela legião de NPCs.

Olha, a Marvel nos cinemas não é unanimidade, mas admiro o trabalho executado, apesar de erros aqui e ali, que deu como resultado uns 10 anos depois de começar.

O cara parece ser a melhor opção. Torço pra ele consertar a franquia depois dessa trilogia terrível.

É difícil ficar otimista com qualquer notícia relacionada a Star Wars... Por um lado, Feige pode ter sido escalado para salvar o couro de Kathleen Kennedy e, tão logo tenha cumprido sua missão, deverá retornar ao MCU, deixando Star Wars novamente à merce da megera. Por outro, pode ser um teste para que, eventualmente, ele venha a tomar o lugar dela. Na minha opinião, a última opção seria melhor para Feige.

Se ele tivesse sido esperto, teria caído fora do MCU logo após o Endgame. Ele seria lembrado como o produtor lendário que levou o MCU ao seu auge, antes que a famigerada Fase 4 (vulgo Fase Lacre) se iniciasse e levasse à derrocada desse universo cinematográfico. Migrar em definitivo para Star Wars não só serviria como uma "porta de saída" do MCU, como permitiria a Feige revitalizar a galáxia tão distante, deixada em frangalhos pela megera e seus seguidores. Levando em conta que Star Wars é uma franquia moribunda atualmente, acho difícil ele conseguir piorar ainda mais a situação. Sem contar que, ao recuperar a franquia, sua reputação de produtor lendário só faria aumentar ainda mais.

Em suma, Feige só tem a ganhar com uma eventual mudança permanente, enquanto a megera só tem a perder. Porém, levando em conta que a maior especialidade da Disney é fazer cagadas, realmente não fico otimista com a notícia. Talvez quando removerem a megera do trono eu fique.

 

[Goris]

É difícil ficar otimista com qualquer notícia relacionada a Star Wars... Por um lado, Feige pode ter sido escalado para salvar o coro de Kathleen Kennedy e, tão logo tenha cumprido sua missão, deverá retornar ao MCU, deixando Star Wars novamente à merce da megera. Por outro, pode ser um teste para que, eventualmente, ele venha a tomar o lugar dela. Na minha opinião, a última opção seria melhor para Feige.

Se ele tivesse sido esperto, teria caído fora do MCU logo após o Endgame. Ele iria ser lembrado como o produtor lendário que levou o MCU ao seu auge, antes que a famigerada Fase 4 (vulgo Fase Lacre) se iniciasse e levasse à derrocada desse universo cinematográfico. Migrar em definitivo para Star Wars não só serviria como uma "porta de saída" do MCU, como permitiria a Feige revitalizar a galáxia tão distante, deixada em frangalhos pela megera e seus seguidores. Levando em conta que Star Wars é uma franquia moribunda atualmente, acho difícil ele conseguir piorar ainda mais a situação. Sem contar que, ao recuperar a franquia, sua reputação de produtor lendário só faria aumentar ainda mais.

Em suma, Feige só tem a ganhar com uma eventual mudança permanente, enquanto a megera só tem a perder. Porém, levando em conta que a maior especialidade da Disney é fazer cagadas, realmente não fico otimista com a notícia. Talvez quando removerem a megera do trono eu fique.

Concordo com tudo que vc analisou, tenho quase as mesmas conclusões e medos.

Mas, acho que só de colocar alguém que tem um histórico de competência (Ok, tentou TLJizar a franquia Homem de Ferro no 3 enfiando "algo que ninguém esperava e quebrando expectativas" no 3, mas justamente a forma dele agir, não atacando fãs mas evitando errar de novo, mostra que temos uma boa perspectiva.

Resta torcer pra ele ter poder e não ser só um segundo em comando. Mas sendo honesto, vc não sai de primeiro em comando na mãos lucrativa década de filmes de heróis da Disney e vira segundo em comando numa que tá afundando.

Provavelmente ano que vem a megera anuncia que tá procurando novos desafios ou se aposentando.

 

[Bloodstained]

Concordo com tudo que vc analisou, tenho quase as mesmas conclusões e medos.

Mas, acho que só de colocar alguém que tem um histórico de competência (Ok, tentou TLJizar a franquia Homem de Ferro no 3 enfiando "algo que ninguém esperava e quebrando expectativas" no 3, mas justamente a forma dele agir, não atacando fãs mas evitando errar de novo, mostra que temos uma boa perspectiva.

Resta torcer pra ele ter poder e não ser só um segundo em comando. Mas sendo honesto, vc não sai de primeiro em comando na mãos lucrativa década de filmes de heróis da Disney e vira segundo em comando numa que tá afundando.

Provavelmente ano que vem a megera anuncia que tá procurando novos desafios ou se aposentando.

Feige não é infalível e, a despeito de seus erros, ao menos ele não teve uma postura absurdamente ofensiva em relação aos fãs, até onde tenho ciência. Isso, por si só, já seria uma melhora em relação ao tratamento que a Lucasfilm e a Disney tem oferecido aos fãs de Star Wars até aqui.

Além disso, há mais um ponto que deve ser considerado: o momento oportuno no qual esse anúncio foi feito. Estranho isso acontecer justo quando Bob Iger lançou sua autobiografia e, inadvertidamente, criou um pesadelo de relações públicas para sua empresa, já que as revelações que ela trouxe sobre a aquisição de Star Wars repercutiram negativamente entre os fãs remanescentes da franquia.

Afinal, as tais revelações não só deixaram bem claro que o próprio George Lucas não gosta nem um pouco do que a Disney fez com Star Wars, como também o quanto ele se sente traído por ter sido esnobado, ao descartarem suas ideias para a condução da franquia. Sem contar que, indiretamente, isso fortaleceu os ânimos de todos os fãs alienados, já que o próprio George Lucas também se sente da mesma forma que eles.

Se esse anúncio não frutificar em absolutamente nada, vai ficar evidente que, no final das contas, ele não passou de nada além de mais um Damage Control feito às pressas, visando apagar o incêndio que a autobiografia de Iger criou.

 

[Rel666]

Voltando a falar de enfiar ideologias a onde não devia me espanta a falta de tato da própria Disney em não ser mais sucinta mais delicada ao tentar empurrar pelas nossas goelas o que eles acham que deveríamos acreditar quem cresceu vendo os filmes e series dos anos 80/90 hoje deve ter percebido o quanto de doutrinação tem na maioria das produções como, por exemplo, achar que os USA é uma espécie de paraíso na Terra, principalmente na maior parte que foi feita durante a guerra fria.
Esse desespero em tentar transformar o mundo naquilo que eles acham o ideal não me parece produtivo tão pouco eficiente e ainda tem a cara de pau de dizer que o fracasso deles é nossa culpa.
Enfim saudades do Clube do Mickey.

 

[Uzumaki.Luffy]

Eu não consigo ficar nem um pouco animado com essa notícia.O Feige pode ate ser menos ruim que a K.K., mas não dá pra dizer que vai melhorar alguma coisa.Fora que dificilmente veríamos filmes de star wars do nível dos vingadores, Capitão América 2: O Soldado Invernal, Pantera Negra, infinity war e endgame.

Eu só espero que não transformem star wars em um stand-up do nível de guardiões da galáxia.

 

[Bloodstained]

Disney Wants Brie Larson To Lead Their New Star Wars Trilogy

Captain Marvel star Brie Larson showed us her lightsaber skills over the summer when she checked out the Star Wars: Galaxy’s Edge experience at Disneyland Anaheim and after channeling her inner geek once more a few weeks later with another photo of herself dressed as a Jedi, fans have begun to call for the actress to book a trip to that galaxy far, far away for real.

But what are the chances that Brie Larson will show up in a Star Wars movie? Well, she’s clearly a big fan of the sci-fi franchise, but given that she’s still busy preparing to lead the next Phase of the Marvel Cinematic Universe, it’s unclear if she’d have the time to hop on over to Disney’s other behemoth property. That being said, the studio would certainly be interested in having her on board if they can make it work.

Sources close to We Got This Covered – the same ones who told us Tom Welling was returning in “Crisis on Infinite Earths,” Jonah Hill was signing on for The Batman and that The CW was developing an Arrow spinoff for Katherine McNamara, all of which have now been confirmed – have told us that Disney “really wants” Brie to take one of the lead roles in either Rian Johnson’s new Star Wars trilogy or the one coming to us from Game of Thrones creators David Benioff and D.B. Weiss.

It’s unclear which one she’d appear in – if she’ll even travel to that galaxy far, far away at all – but from what we understand, the Mouse House would like to find a way to make it work and have her continue her MCU commitments while also being involved in Star Wars. And though that may not be possible in the end, we’ll keep our fingers crossed that things will work out.

Of course, this news comes hot on the heels of that report that Disney had begun to lose confidence in Brie and her Captain Marvel character. At the time, we stressed that that should be taken with a grain of salt given that it came from some dubious sources and while we can’t say for certain that it was false, it certainly seems that way now that we’re hearing the studio wants to work with her on Star Wars.

In any case, it’s possible that Brie, Disney and/or Lucasfilm will deny this if asked about it, but let’s not forget that Tom Welling denied he was returning for “Crisis” on several occasions, and we all know what happened there, right? And while things can always change, we have no reason to doubt our sources, given that they’re also the same ones who told us Marvel was developing She-Hulk and Ms. Marvel shows before the official announcements were made.

But we digress. For now, we can tell you with certainty that Disney would like to have Brie Larson take a lead role in one of their new Star Wars trilogies and as soon as we learn more, we’ll be sure to let you know.


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Dispensa comentários.

 

[chubilubi]

Olha, na atual situação q se encontra, qualquer novo caminho é mais esperançoso do que ficar a mercê da Lucasfilm dos últimos 6 anos.

Injetar um profissional com bagagem bem sucedida eh um bom sinal. Principalmente com a postura perante a obra que ele tem. Isso é inegável que é pra melhor.

Muito se critica a Disney, mas o grande vilão dessa ladeira abaixo eh a Lucasfilm. Eh uma equipe sem visão e delimitada ao seu mundo. E dentro do mesmo grupo Disney temos obras de ótima qualidade pop cultura, vide MCU.

Não eh novidade que o George Lucas não curtiu nada. E assim como a maioria dos fãs, ele sente que levaram a obra de uma vida pro buraco (claro q ele tá com os bolsos cheios de 4 bilhões de dólares). Aliás imaginem, a franquia custou isso pra Disney. Será que de lá pra cá eles conseguiram reaver essa grana até aqui? Eh uma conta apertada.

Há anos atrás todos diriam que eles teriam o retorno imediato dessa grana e lucraram muito mais facilmente. Mas na contabilidade, essa conta não é lá tão folgada assim como se pensava.

Sendo damage control ou não, eu aposto na saída da Kathleen pro ano que vem.