Couldn't what? Care less? Cause that's true, I couldn't. I could not care less how much Mando made. No matter whether it's CNN or Fox or the homeless guy on the street corner taking me.
The numbers are the numbers regardless if it's on Fox or CNN........ I didn’t expect the movie to do crazy Star Wars numbers but I definitely didn’t expect it to do this poorly. It might be time for someone new to steer the franchise (although I have high hopes for the Ryan Gosling movie). Maybe the guy that was responsible for Andor Anyways, hopefully they're doing this to Dave Filoni right now
I also did not expect it to do that poorly. They should have left it alone as a 4th season. As it is, you can see the seams where the episodes all started and ended. And when you take a story and cut out four hours of its runtime, it's just gonna end up feeling rushed. I don't think Filoni is the best choice for the live- action stuff. I've never watched the cartoons, and neither have most Star Wars fans. So when I see some weird sleep glob that was in The Clone Wars or Rebels or whatever, I don't say "Oh, cool!" I just wonder who the fuck that person is.
They struck while the iron was cold. Mando season 1-2 were the height of Grogu-mania. That's when they should have jumped on the movie. They wanted their precious Disney+ to grow, and wanted season 3, and Boba-Fett, and Ahsoka, and they made them at a snail's fucking pace. They took too fucking long. I truly believe, you release this exact same movie in 2022; gangbusters.
Pretty much. 5+ years between Ahsoka S1 and 2, which was a good show, is just absolutely nuts. But this is a management and leadership problem
This isn't a Disney+ problem. Netflix, Amazon, Hulu, HBO MAX, all of them. it's getting too expensive for studios to make money. They are not getting the same profits they used to. So, fewer seasons. fewer episodes per season. less story per episode. The world is turning into a dark, gray place.
People often say "it feels like a two-parter" without taking the time to explain how. Here's what I would mean if I said that ... which isn't necessarily what anyone else means. 1) A two-parter is structured a lot like a two-act stage show in that it demands two nearly equal climaxes, the first of which has an unsatisfying resolution in order to maintain tension at the beginning of Act II. Furthermore, the first climax has to happen at the precise midpoint of the story. Outside of a work that is meant to be seen in two equal parts, most writers would not structure a story this way. 2) In the Star Trek context, most two-parters do not change the status quo in any meaningful way. They may add significantly to the lore, but with a handful of exceptions, such as VOY's "Scorpion," everybody usually ends the episode in the same place they began. Contrast the three most well-regarded TOS movies, which end (respectively) with Spock dead, the crew going from exiles to reclaiming their place, and detente with the Klingons. 3) Star Trek two-parters usually don't have major independent character arcs. Contrast Kirk facing mortality and loss in a way he never had before; Kirk recognizing and returning to the thing that he's best at; and Kirk learning to respect a former enemy.
Side note: Arguably, the II-III-IV trilogy represents one big story aimed at ripping the characters out of the status quo and then returning them to it. But the three are so stylistically different, and with such completely unrelated antagonists, that I don't think you can view them as equivalent to a multi-part TV episode.
The fact that anyone paid to see this in theatres when every Disney+ subscriber will be able to watch it for free in a couple months suggests to me that the Star Wars franchise (and the Mandolorian sublime) are far from dead. Does anyone think Good Omens 3 would have made millions at the box office? If NBC owned Star Wars, this movie is the sort of thing they'd have aired for free as a two-part season opener after the Superbowl. Six live action films in 28 years pre-Disney, versus six live action films in 10 years during the Disney era. Comparing the two eras is silly.
I guess I would question both 2 and 3 strongly, and 1 somewhat. Yes, structurally, almost all writers of two-parters are going to build them such that there's a cliffhanger precisely halfway through. But I imagine in 1 parters, that the principle of rising action does have a high point about halfway through. In TWOK, it may not be precisely 50 percent of the way through that Khan blasts the Enterprise because Kirk assumes that the Reliant is a friend, but it's close enough. I would say most individual episodes of Trek do not change the status quo in a meaningful way, so that is not a particularly useful measuring stick. And one can make the argument that whether Trek two-parters did or not. I would say that they are more likely to have done than most individual episodes. BOBW did in giving Picard mental and moral scars that affected him in First Contact the movie, Picard S2 and other episodes, plus leading to such things as the creation of the Defiant. Redemption put Worf in good stead with the Klingon empire, setting the stage for a lot of what happened in the second half of DS9. Chain of Command didn't do as much as it could have, but it led to Troi wearing the official uniform and seeking to move up the ladder (maybe I'm giving it too much credit on that last part). VOY's Future's End allowed the Doc to get the mobile emitter, which obviously had large ramifications for the rest of the series and SFA. I would say that most of the two-parters had various character arcs; I'm not sure how to process the "major" and "independent" qualifiers here. For instance, BOBW was as much about Riker learning to rediscover himself and see himself as more than Picard's understudy; Redemption had character arcs for both Worf as one of the good Klingons who truly wanted what was best for the Empire as much as the self-interest of him and his house and for Data as someone who is worthy of respect as a sentient being and who's not going to take any mess; Chain of Command has a character arc for Riker again as being willing to stand on principle up to a captain who's a bit overbearing as well as Picard who is forced to realize that under the wrong conditions, the sophisticated and erudite person can be broken down;
Just popped in to check. At this point, "SW:M&G" is significantly underperforming "Solo..."--and that's not even accounting for inflation since 2018, "Cap: BNW", and "Thunderbolts." SAD!
Yeah, it's not doing great. But you know what's even more sad? The 250th "celebration" that your hero planned.
Interestingly, it IS significantly outperforming Girl Ghostbusters...until you adjust for inflation. But even then it's made $2 million more domestic to date.
Man.....this felt like a real downgrade from peak The Mandalorian television. Left me feeling a bit disappointed, and I didn't really even have high expectations I mean there were some cool bits but....it was mostly pretty meh And was it just me or did the special effects not seem up to the usual standard?
It IS a downgrade. It could have been better if Disney didn't get greedy. But no, they had to truncate the season and try to make a movie out of it by cramming 5-6 episodes into one two-hour film. And it failed miserably. But they will assume it was the property, and not the way they handled it, that caused the failure.
They're not wrong, although the way their CEO and CFO worded certain things was a bit... clunky. An enterprise like Disney has a lot of diversified revenue streams, and box office receipts are only one aspect of that. So yes, a box office flop is a bad thing but if drives business in other areas it could potentially be a net win for the corporation. Volpone disagrees!
Like I said back in June, this is something that would normally be released on Disney+ at no extra cost to subscribers. Every ticket sold to watch it in theatres a couple months before it hits streaming is pure profit for Disney, not to mention the toys and promotional tie-ins. It's far from a flop, no matter how much some sad old terminally online men want it to be.
