@Doomsday8888 - what happen to that stupid villain stilt man, spot, shocker is he dead

@Se4M4NSt4ine - oh yeah I'm not denying talks. But if they can't work these characters into the plan it ain't happening. Outside of daredevil and (maybe) Jessica Jones, I really can't see them pulling a Spiderman and move around projects to bring these characters into the spotlight. And even then I don't see them as popular enough to pull a Deadpool by keeping an r rating, which these definitely should have.

@Se4M4NSt4ine - The conventional wisdom has been that Disney would do nothing that ended up promoting IP that Netflix owns now and will continue to own. That would mean that unless Disney bought the shows from Netflix they were dead and presumably the cast/character combinations as well.

That was before all of the "news" concerning Sony's old Spidey movies. If Disney is seriously considering that sort of deal with Sony then a deal with Netflix is not as impossible as I once would have thought.

@JDL - problem is they have a bunch of shows, both being developed and in the planning stage, that are part of what's on his planning board going into 2029. You still need to adjust things to avoid digging into other project's profits. You still have to consider yearly budgets that limit how many shows and at how much of a budget each show gets. In fact that's why I specifically didn't mention anything like movies or shows, because they could go either way and the problem would be constant.

@JDL - 1) it's gonna be accumulated budget, since the episode count is in Flux. But even then, yes. These episodes are more expensive per episode. Did you see falcon and the winter soldier trailer? Ain't no way you're doing that on a daredevil budget.

2) not really. Most of the demand is for the r rated content already made that Disney now owns.

@SnideCut - no, we’re talking about the same Kathleen Kennedy that’s went through more directors than Law & Order.

As for Mando... that’s sus

@SnideCut - More like the same Kennedy that produced the flopped Solo, on which she fired the popular directors after 80% of shooting. Or the one that produced the sequel trilogy, which as a whole ultimately managed to satisfy almost nobody. And it's not like Rogue One itself was exactly a smooth production.

@SnideCut - People always say that as if it excuses her other mistakes. Yes, she made a good decision commissioning Mando and selecting the right talent. But she selected the wrong talent for all the other films so I still think it balances out. She's just not a very good producer.

@Nightwing1015 - She's the woman who produced Jurassic Park, Munich, ET, The Indiana Jones Trilogy, The Sixth Sense, The Color Purple, Schindlers List among many, MANY others. Some butthurt fanboys saying she's not a good producer does not make it fact.

@SnideCut - Also Lucas directed Star Wars, and THX but after the prequels can people call him a good director??

@SnideCut - "She was the one in charge"

Well obviously that statement is misleading. That's what I mean. Speilberg/Lucas held most of the creative control. I'm not diminishing the good she did on those projects, I'm just pointing out that when it was time for her to take over full control, she made a ton of bad decisions.

At the end of the day somebody has to take responsibility for the sequel trilogy. And while I don't blame her the most I don't think it would be a good idea to reward bad decisions with a contract extension. But I guess we'll see what happens because her contract is up in 2021 I think...

@Se4M4NSt4ine - So when she produce something you don't like, its totally her fault but if she produces something you like, she doesn't deserve the credit? Your logic is truly mind-blowing.

@SnideCut - how about we use that same logic against itself then, to help you better understand.

For five years straight, over multiple projects - KK very unprofessionally struck up multiple deals with Directors to direct multiple projects. Deals, that any producer would’ve combed over in many details, especially making sure they agree in principle - what the film was going to be about.

But not just on one occasion, multiple - Directors lefts due to creative problems. Again, not just ONCE, but MULTIPLE times. That’s the sign of weak producing qualities.

Now, do I think KK is a terrible producer? Absolutely not. Spielberg said she was one of the best working producers to collaborate with a leading Directors vision.

But that’s exactly what she is, she’s great at working and collaborating with a Director who’s got full creative control, like a Spielberg type. Like a Zemeckis type. Like a Donner type. Like Dante type. Like a Favreau type. And so on...

Now, look at the all Directors she’s worked, as well as failed to work with in Star Wars, where she’s dropped the ball. So many new, talented directors, that she failed to manage from the get go, either in production or out with. The amount of Directors that got sacked mid way through shooting, replaced by other Directors in reshoots. It’s absolutely baffling how unprofessional her track record within Star Wars is. Go do your research, it’s literally all there in black and white.

Where her issues stand, is being in control of a full studio, being the head organiser of where projects go, and what stories she wants told - and especially what fresh directors she wants to work with. She’s failed so badly as a producer in this area, that it’s cost her many setbacks, in quality, in track record, and in stories.

Now, if that doesn’t give you a solidified response to why KK is definitely on an uphill battle to restore the Star Wars name, then perhaps you really need to go way up the pros and cons a bit more seriously.

@bobevanz - nice* I'll sell my soul for an edit button lol