Those controlling the StarWars empire are being driven by a conflict they have not figured out how to resolve. They want 'Star Wars' to evolve… and they want it to stay the same. Can they have it both ways?
In the case of Benioff and Weiss, the vague lingering issue of “creative differences” hangs over the departure, but the situation is more ambiguous, since the two writer-producers signed on for a major deal with Netflix that would have gotten in the way of their delivering a new “Star Wars” trilogy in a timely fashion. Yet when you stand back and look at this four-year series of “Star Wars” creative generals falling like dominoes, it’s clearly far from a coincidence.
In almost every case, what’s been demonstrated is that the executives in control of the “Star Wars” empire are being driven by a conflict they have not figured out a way to resolve. They want “Star Wars” to evolve…and they want it to stay the same. They want to grow it into something beyond what it has been…but they don’t want to let go of what it has been. Can they have it both ways?
When you scan those titles, what that junkyard of rusty, forgotten duds adds up to is the larger truth about sequels: They exist, as art and as business, to remind you of something that existed before. They are parasitical by design. That’s why, well into the ’90s , they were a form greeted with a mixture of enthusiasm and mockery.
The most telling departure in the recent history of “Star Wars” firings was the dismissal of Phil Lord and Chris Miller from “.” I wasn’t alone in being disappointed by that firing, and I was probably at the extreme end of things in finding the film that Ron Howard reshot to be a busy and joyless bore.
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