Japanese action star Hiroyuki Sanada (“Westworld,” “Sunshine”) isn’t a stranger to Hollywood genre work, briefly appearing in Marvel’s “Avengers: Endgame” as a sword-wielding Yakuza desperately trying to fight off Clint Barton’s revenge-seeking Ronin and even played a scheming corporate villain in James Mangold‘s “The Wolverine.” In his new Hulu samurai series, “Shōgun,” the veteran actor is getting a lot more stage time, and it’s led to some serious buzz around the show alongside the authentic touches across the production thanks to Sanada’s creative involvement as a producer. However, it sounds like Sanada is itching to travel to a galaxy far, far away.
‘Yeah, all of them. Especially ‘Star Wars’ I’m a big fan of them…I can’t wait. I can’t say [one favorite character] because [the] world itself is amazing,” Sanada told Variety (See video below) on the red carpet at the Hulu On Disney+ launch event Friday.
It’s worth mentioning that Sanada has long been trained in sword work, which was displayed in both “The Wolverine” and “John Wick 4” (has a sword fight versus “Rogue One: A Star Wars Story” actor Donnie Yen) So, in theory, playing a stoic Jedi master would feel like a perfect casting choice.
Hiroyuki Sanada and James Mangold on the set of “The Wolverine”
We’ll keep our fingers crossed that Mangold keeps Sanada in mind for a role in his upcoming Jedi origin movie “Star Wars: Dawn of The Jedi,” which is potentially going to be ready for a December 2027 release. The project recently added Beau Willimon (“Andor,” “House of Cards”) to help Mangold co-write the film’s script, but we’re still waiting on major casting news on multiple fronts for upcoming “Star Wars” movies.
Sanada has plenty of “Star Wars” options beyond “Dawn” with follow-up seasons for “Ahsoka,” “The Mandalorian,” “Star Wars: The Acolyte,” and “Star Wars: Skeleton Crew” on the table at Lucasfilm. There are also two other feature films gearing up to begin shooting this year with Jon Favreau’s “The Mandalorian & Grogu” and Sharmeen Obaid-Chinoy’s “Star Wars: New Jedi Order” that sees Daisy Ridley reprise the Rey Skywalker role to train a new generation of young Jedi. Dave Filoni (“Ahsoka”) and Shawn Levy (“Deadpool & Wolverine”) are also developing their own features.
“Shōgun” is currently streaming on Hulu (internationally on Star) and is being billed as a limited series, which should allow Sanada to take more franchise roles down the road.
Lucasfilm is continuing the Rey Skywalker story with “Star Wars: New Jedi Order” set to bring back sequel trilogy actress Daisy Ridley to pay the young Jedi master as she looks to train a new generation of Jedi in the movie set for release on December 18, 2026. While we’re still in the dark about the return of other established characters like John Boyega‘s Finn, that sort of got short-changed after being set up in “Star Wars: The Force Awakens” as the co-lead before taking more of a supporting role in the wake of weird racist/sexist backlash the sequel trilogy installments kept getting from the more unhinged corners of the internet and right-wing media freaking out about women and non-white characters being protagonists in fantasy films.
Ridley while speaking with Screen Rant, isn’t sure if Lucasfilm will ultimately bring Finn back but supports the idea of having him finally make the jump to become a Jedi, even if it’s “above her pay grade” to make that happen. “That is above my pay grade. [Laughs] I would love to see that, but that is not a decision for me,” the “Star Wars” actress told Screen Rant when asked about Boyega finally getting his Jedi wish.
For Boyega’s part, he’s said in the past he’s spoken since the release of “Star Wars: The Rise of Skywalker” with Lucasfilm’s head Kathleen Kennedy, sharing his previous disappointments. He’s also made it clear to media and fans that he’s not interested in reprising the Finn role for a Disney+ project, leaving some wiggle room for a comeback on the big screen. Many were upset that Finn never ended up becoming a Jedi even though they kept teasing his force-sensitives, and he even wielded a lightsaber twice in the first film. Sadly, it felt like Lucasfilm caved to a small vocal group that was incensed that a black actor was playing a Stormtrooper and being given such a prominent role in the film.
There have been rumblings of Finn’s big return, but nothing official has been announced, and we likely would know about something like that closer to a production start. Sharmeen Obaid-Chinoy (“Ms. Marvel”) is set to direct “Star Wars: New Jedi Order” with a tentative release date of December 18, 2026, and it has been suggested that cameras could begin rolling sometime after Jon Favreau‘s “The Mandalorian & Grogu” (heading to theaters on May 22, 2026) kicks-off production in California later this year.
There is also now a sense that James Mangold’s “Star Wars: Dawn of The Jedi” could end up taking the spot on December 17, 2027, reserved for another “Star Wars” movie.
One of the upcoming “Star Wars” movies gestating at Lucasfilm is a Jedi-origin film taking place 25,000 years in the past with James Mangold (“Logan”) set to direct and write the film. The pic is getting some impressive help on the script as The Hollywood Reporter has revealed that “Andor” writer Beau Willimon (“House of Cards”) is going to co-write alongside Mangold.
Having someone who has contributed to one of the more critically acclaimed “Star Wars” projects is certainly a boom, and we’re all for the “Andor” creative team to have an influence on the feature films. Even more so, “Dawn of The Jedi,” where they won’t be beholden to either the Skywalker Saga or Legends (expended universe source material) as they’ll be sort of creating their own corner of the franchise with a timeline that takes place before The Old Republic or The High Republic. “Dawn” is essentially a blank slate and has an optimistic approach built-in for new things to be created/explored for the Jedi mythos.
It’s unclear when “Dawn of The Jedi” will start filming; the director is busy working with Timothee Chalamet on his dramatic Bob Dylan biopic “A Complete Unknown,” which means that they have plenty of time to work on the script. He’s also attached to make a new “Swamp Thing” movie for James Gunn’s newly formed DC Studios as they hope to reset their cinematic universe starting with a “Superman” reboot.
As it stands now, the feature film lineup includes Jon Favreau‘s “The Mandalorian & Grogu,” coming out on May 22, 2026, and the Daisy Ridley-led “Star Wars: New Jedi Order” helmed by Sharmeen Obaid-Chinoy (“Ms. Marvel”) is coming out on December 18, 2026. With various projects in the works, including “Dawn of the Jedi,” a mysterious film from Shawn Levy (“Deadpool & Wolverine”), and according to director Patty Jenkins (“Wonder Woman”), her “Star Wars: Rogue Squadron” movie about X-Wing pilots is still alive as she owes the studio a new script.
Mangold’s last feature film took a bit of a bath at the global box office as Forbes reports that “Indiana Jones & The Dial of Destiny” has lost Disney over $130 million. This could make things increasingly difficult for Mangold as he attempts to make an equally expensive “Star Wars” film, hoping to attract a large audience. We’re only bringing this up because Lucasfilm has a habit of bailing on directors who have critical or financial hiccups connected to their movies (Jenkins’ “Rogue Squadron” suddenly had issues and went into creative limbo after “Wonder Woman 1984” failed to click with critics/audiences).
As soon as Lucasfilm and Disney announced that Jon Favreau (“Iron Man”) would be directing the next big “Star Wars” feature film with “The Mandalorian & Grogu,” it was expected that production would pretty much stick to the same stages and crew working on the Disney+ shows in and around the Manhattan Beach/Los Angeles area in California. Now, that has been cemented with new tax breaks as The Hollywood Reporter revealed the Disney production has landed $21.8 million.
What’s interesting about all this is that star Pedro Pascal is about to begin shooting on Marvel‘s big “Fantastic Four” reboot at Pinewood Studios in England over the summer. This would likely mean his part as Din Djarin will continue to be voice-over related with Brendan Wayne and Lateef Crowder expected to do the in-suit acting for Mando. Unless he shoots scenes with his helmet off during reshoots ahead of the film’s May 22, 2026 release date, that was inferred by Disney CEO Bob Iger.
“The Mandalorian” is still getting a fourth season but it’s unclear when that will shoot given the upcoming film shoot.
Directors Sharmeen Obaid-Chinoy, James Mangold, Dave Filoni, Taika Waititi, and Shawn Levy also have their own feature films in the works. The former will continue the story beyond “Star Wars: The Rise of Skywalker” with the return of Daisy Ridley as Rey Skywalker and the expectation of her training a new generation of young Jedi. There’s been an assumption that Obaid-Chinoy’s movie will debut on December 18, 2026.
Favreau isn’t a stranger to helping build a cinematic universe as his two “Iron Man” movies helped establish the MCU and became important lead-ups to “The Avengers” in 2012. Along with Lucasfilm’s new CCO Filoni, Favreau has been fleshing out their own corner of the “Star Wars” universe and is expected to contribute creatively to most things moving forward.
“Andor” originally had some skepticism involved with its development as it would attempt to explore the origins of Rebellion spy, Cassian Andor. However, the streaming series starring Diego Luna and overseen by showrunner Tony Gilroy after being behind the extensive reshoots of “Rogue One: A Star Wars Story.” The show ended up becoming quite the espionage thriller and felt like true character-driven storytelling with excellent writing/performances. Luna has now announced that the second season which had been paused during the Hollywood strikes has finally wrapped filming and likely means we’ll get a release window shortly.
Here is what Luna said in a social media post on Instagram about the show finishing up filming today:
“Today is the last day of filming ‘Andor.’ I could not be more thankful to the entire crew for this amazing experience and the years of hard work. More than 700 people have worked on this production, and it is impossible to say goodbye and thank you to everyone individually, which is why I write here. Thank you for the love and the wonderful experience. See you soon.”
If you’re not aware, “Andor” focuses on the early days of the Rebel Forces working behind the scenes to fund/enact various missions to attack The Empire’s outposts when a bunch of the leadership is in the public view of that fascist regime on Coruscant. This adds to the show’s major push to explore wartime paranoia when it comes to spies working behind enemy lines.
Other cast members expected to return for the second season include Genevieve O’Reilly (Mon Mothma), Stellan Skarsgard (Luthen Rael), Kyle Soller (Syril Karn), Denise Gough (Dedra Meero), Faye Marsay (Vel Sartha), and Adria Arjona (Bix Caleen).
You can view that Instagram post made by Luna today below.
There have been some rather big updates concerning the “Star Wars” universe with small screen confirmations that “The Mandalorian” is still getting a fourth season despite a feature film on the way and Dave Filoni (Lucasfilm’s new Chief Creative Officer) is already working on getting “Ahsoka” season two in the bag before pivoting to his own “Star Wars” movie set during that television timeline allowing him to play with both original saga and his own animation characters. We now have an idea of when to expect the next TWO movies thanks to Disney.
During an earnings call yesterday, Disney’s Bob Iger confirmed that Jon Favreau‘s “The Mandalorian & Grogu,” a continuation of the Disney+ series, would be the first new “Star Wars” movie to be released in 2026. That comes after Disney updated their main release slate (via Fandango’s Erik Davis) to include two 2026 spots for “Star Wars” films including May 22, 2026, and December 18, 2026.
Seemingly, Iger was giving us the impression that the “Mando” movie is most likely heading toward that May spot and the new Rey Skywalker installment “Star Wars: New Jedi Order” (Given how far along development is) could be heading toward that December release with director Sharmeen Obaid-Chinoy (“Ms. Marvel”) attached alongside Daisy Ridley‘s return to the franchise. Considering the previous films in the Rey Skywalker saga took December spots, it’s not all that surprising to us that would end up landing the holiday spot.
There have been hints that both of the films could be ready to shoot as early as this summer/fall but we’ll have to wait for some casting news to know for sure when they’re gearing up for production.
Star Wars: Iger confirms that THE MANDALORIAN & GROGU will be the first of the new slate of Star Wars movies, likely to hit in 2026.
UPDATE: Disney has sent its updated theatrical schedule for 2024-2031. – UNTITLED ALIEN MOVIE is now ALIEN ROMULUS – 8/16/24 – MOANA 2 is 11/27/24 – ZOOTOPIA 2 is officially 11/26/25 – 2026 will feature two STAR WARS movies, so MANDO & GROGU can be either May or Dec pic.twitter.com/0rI4tQkc2A
In 2023, studios across the board had a good amount of their blockbusters tank or have underwhelming results at the global box office. At this point, the phrase “franchise fatigue” is maybe the more accurate term we should start using here over “superhero fatigue.” Mainly, because it’s not just comic book movies that are struggling to make an impact at the box office, earn as much as the last installment, or turn a profit. In this piece, we’re going to spotlight many of these box office hiccups from last year.
Disney saw a massive ding to their 2023 slate with “Indiana Jones & The Dial of Destiny,” with a $300 million budget and the fifth installment of the “Indiana Jones” franchise, which didn’t click with audiences in the way that Lucasfilm/Disney had hoped earning a less than stellar $383.9 million. Speaking of Lucasfilm, a studio built on the juggernaut “Star Wars” franchise hasn’t shot a feature film since 2019 with “Star Wars: The Rise of Skywalker.” Their pause on the feature division comes after “Solo: A Star Wars Story” had a weak box office take that scared Lucasfilm from pursuing other spinoff films and pivoted to focusing on their streaming series division at Disney+ instead. There have been endless promises of new films by Lucasfilm from filmmakers such as Sharmeen Obaid-Chinoy, Taika Waititi, Dave Filoni, James Mangold, Shawn Levy, and a mystery trilogy from Rian Johnson. However, we’ll believe all these “Star Wars” movies are happening when the trailers drop considering how many films were turned into series or never happened at all like “Star Wars: Rogue Squadron” that had a release date of December 22,2023 and then the Patty Jenkins-directed pic just vanished.
It’s not just Disney and Warner Bros. undergoing a stress test other studios saw some of their popular franchises taking dings in 2023. Paramount’s “Transformers: Rise of The Beasts” had a somewhat difficult time attracting audiences to the point that it made even less than 2018’s “Bumblebee” with $438.9 million and $166.5 million less than “Transformers: The Last Knight.” Another big stumble for Paramount was “Mission: Impossible – Dead Reckoning Part One” and one nobody really saw coming after “Mission: Impossible – Fallout” earned Paramount a whopping $791.6 million back in 2018. The most recent outing led by Tom Cruise only managed to make $395.4 million over the summer which is nearly half of what “Fallout” did. The studio is now abandoning the “Dead Reckoning Part Two” title for “Mission: Impossible 8” entirely.
While I think folks at Lionsgate are happy that their “Hunger Games” prequel has made $322.6 million, yet, that would still be a drop of $338.8 million from “The Hunger Games: Mockingjay – Part 2.” The fourth installment of “The Expendables” distributed by Lionsgate ended up putting up some of the worst numbers with an embarrassing $21.2 million compared to the last pic’s $214.6 million. “Expendables 4” wasn’t the only disappointing Jason Statham film either as Ben Wheatley’s “Meg 2: The Trench” dropped down by $134.3 million.
Universal has many plans for expanding its Universal Monsters franchise with various features tackling different horror characters. However, in 2023 the studio struggled to get folks to watch either of their high-profile Dracula films with both the comedy “Renfield” ($26.4 million global earnings vs $65 million budget) and the grittier “The Last Voyage of The Demeter” ($21.7 million global earnings vs $45 million budget) which took decades to make it to the big screen failed to scare up an audience outside of the Halloween season. Some of the few horror films that struggled.
Meanwhile, on the superhero front, there were indeed signs of audience apathy. Both “The Marvels” ($46.1 million domestic opening weekend) and “Aquaman & The Lost Kingdom” ($27.7 million domestic opening weekend) were follow-ups to billion-dollar successes that failed to make a big splash by not covering their production/marketing costs.
Of course, the headaches that Marvel Studios experienced in 2023 are obvious with “The Marvels” dipping a massive $925.8 million compared to “Captain Marvel” and “Ant-Man 3” saw a significant drop of $146.6 million in contrast to “Ant-Man & The Wasp.” Although, it wasn’t all bad for the MCU since “Guardians of The Galaxy Vol.3” topped the superhero releases at $845.5 million with a minor slip of $18.2 million.
The final installment of the DCEU, “Aquaman & The Last Kingdom,” had a soft opening weekend as mentioned above, and has only mustered $258.2 million which is another colossal hiccup. A difference of $893.8 million when put up against the original. Ultimately, the “Shazam!” sequel ended up with one of the worst turnouts for major superhero blockbusters. At $133.8 million (Made a fraction of what the original did when it earned $367.7 million in 2019) and given its hefty budget of $300 million, “The Flash” was another catastrophe for WB at $270.6 million. With the DCU set for a big reboot in July 2025, starting with “Superman: Legacy,” there are some expectations that the reset could help with the studio’s rebranding post-Snyderverse. Then again, “Blue Beetle” (Not technically a sequel/follow-up) was retroactively added to the DCU by DC Studios around its release despite a weak $129.2 million at the box office.
Then again, it’s not all bad since there were a handful of upticks in 2023, and some of these include “Spider-Man: Across The Spider-Verse” hitting $690.5 million, a big jump from the Oscar-winning first installment’s global box office of $384.2 million from 2018. “Creed III” saw a $61 million boost which sounds good for the prospect of a fourth film. When it comes to more mature franchises, “John Wick: Chapter 4” also handed Lionsgate their best numbers over four feature films at $440.1 million. “Saw X” and “Scream VI” did well compared to their last installments too.
Every movie is as different as the reasons for them not becoming massive earners.
We can’t really expect studios to pump the breaks completely on the superhero movies given that it’s still a lucrative venture. There is an overload of sequels on the horizon at Marvel with “Deadpool 3,” “Captain America: Brave New World,” and director Destin Daniel Cretton exiting “Avengers 5” to focus on “Shangi-Chi 2.” “Deadpool 3,” an R-rated sequel, is expected to be the only MCU feature film released this year and gives the studios a bit of a cooling-off period.
While these pics haven’t been given official release dates or announced by Marvel themselves, there is an expectation that we’ll be getting “Spider-Man 4,” “Doctor Strange 3,” “Thor 5,” “Captain America 5,” and possibly “Eternals 2.” There are also a bunch of reboots on the way with things like “Fantastic Four,” “Blade,” “X-Men,” James Gunn’s “Superman: Legacy” shooting in 2024, and a new Batman film with “The Brave & The Bold.”
Sony’s adjacent Marvel films in 2024 include “Madame Web,” “Kraven The Hunter,” and the final solo outing for Tom Hardy’s Eddie Brock in “Venom 3.” We don’t know how much appetite audiences have for these movies without Tom Holland’s involvement and a disaster like “Morbius” harkening back to the era of the 2000s when studios were rushing half-cooked superhero films into theaters to meet the demand.
A bunch of non-comic book blockbusters or follow-up installments coming later this year include “Dune: Part Two,” “Ghostbusters: Frozen Empire,” “Gladiator 2,” “Furiosa: A Mad Max Saga,” “Kung Fu Panda 4,” “Inside Out 2,” “Kingdom of The Planet of The Apes,” “Alien: Romulus,” “Godzilla x Kong: The New Empire,” “Mufasa: The King King,” “Sonic The Hedgehog 3,” “The Lord of The Rings: The War of The Rohirrim,” ‘Smile 2,” “Saw XI,” “Transformers One,” “Beetlejuice 2,” “Wolf Man,” “A Quiet Place: Day One,” “Despicable Me 4,” “Bad Boys 4,” “Ballerina,” “The Strangers: Chapter 1,” and Radio Silence’s Universal Monsters film. Hopefully, these do a lot better with audiences.
Solutions? Well, spending $200-300 million a pop for these films is simply going to be unsustainable, and trying to market every blockbuster as an event continues to be difficult for studios when their slate is mostly these kinds of films in an oversaturated market. Studios would likely benefit from seeking out filmmakers who can deliver genre films at lower costs and potentially scaling back the overreliance on VFX. An adjusted expectation for these movies could be closer to a cume of $300-500 million and studios would be smart to think about going back to budgets closer to/under $80-100 million. The bigger the movie the pricier reshoots and overhauls will be to fix hiccups in the editing/post process which has contributed to a lot of these bloated budgets making it tougher for studios to recoup their overall costs.
Some other factors include that COVID is still ongoing with people avoiding crowded theaters/malls and a lot of audiences don’t have to wait long for releases to drop on streaming services they’re already subscribing to. The latter seems a lot more damaging because the shortened theatrical windows mean studios have to deal with not only folks waiting out to get movies for “free” on streaming via subs and diminishes the importance of the theatrical experience. Warner Bros. during the early days of the pandemic attempted to do day-and-date releases which was detrimental to their film division it led AT&T’s John Stankey to bail on the company by handing over the reins to David Zaslav/Discovery (His tax write-off scheme leading to the erasure of films and shows is equally imbecilic).
A good example of this was Disney, who dumped three straight Pixar films “Soul,” “Luca,” and “Turning Red” on Disney+ and seemingly did large brand damage as they’re trying to fix in retrospect by releasing them all in theaters in 2024 (See teaser trailer above). This comes ahead of the release of “Inside Out 2” in June, a follow-up to a $858.8 million hit, that may aim to curb some of the weak box office that “Toy Story” semi-spinoff “Lightyear” saw in 2022.
It’s worth mentioning that things like “Barbie,” “Oppenheimer,” and “Super Mario Bros.” surprised us all with their massive earnings as when these movies were first announced they weren’t slamdunks to the point we were expecting them to be the Top 3 films of 2023. Their theatrical windows gave those pics plenty of time to accumulate a bunch of cash. Also, doesn’t hurt that both “Barbie” and “Oppenheimer” (Still playing at my local theater in December) came from visionary filmmakers, Greta Gerwig and Christopher Nolan respectively. Selecting creatives that can contribute to the script or elevate the material to make something appealing to an audience when a lot of genre projects can blend together or seem generic might help. Nolan and Denis Villeneuve have been extremely vocal on the importance of theatrical windows.
We shouldn’t be all doom-and-gloom about the situation. I’m mostly optimistic since there were plenty of good box office stories in 2023 and studios aren’t suddenly going to stop making these movies. Yet, potentially trimming the volume of releases, not trying to manufacture event status for all films, and using their abundant resources more carefully should be a good start. Marvel/Disney have already signaled they’re looking to pivot and make constructive changes. We’ll see if other studios make similar adjustments with their own franchises that are seeing dwindling interest.
Here is a rundown of franchise releases in 2023 to give you an idea of how lopsided the box office of 2023 actually was:
GUARDIANS OF THE GALAXY VOL. 3 ($845.5 million)
FAST X ($704.8 million)
SPIDER-MAN: ACROSS THE SPIDER-VERSE ($690.5 million)
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE ($567.5 million)
ANT-MAN & THE WASP: QUANTUMANIA ($476 million)
TRANSFORMERS: RISE OF THE BEASTS ($438.9 million)
THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES ($322.6 million)
Oscar-winning filmmaker Guillermo del Toro (“The Shape of Water”) could fill a room with all the unmade projects he’s either developed or has been courted for over the years. Some of those projects include a feature film version of H.P. Lovecraft‘s “At The Mountains of Madness” starring Tom Cruise (A seminal sci-fi horror tale that inspired the likes of “The Thing” and the “Alien” franchise), the sequel to “Pacific Rim,” a series at Marvel/ABC focused on “The Hulk,” and the most infamous being “The Hobbit” movies that passed to Peter Jackson, reluctantly.
Last month, we learned of another big studio project that he was developing with his “Blade II” screenwriter, David S. Goyer, that didn’t get made either. That is a feature film set in “Star Wars” focusing on “the riseand fall” of Jabba The Hutt in the criminal underworld. While del Toro had mused in previous interviews about making a “Godfather”-type story within that universe, it wasn’t until Goyer mentioned that they had actually tried to get it made and had worked on the script at Lucasfilm for it.
Now, del Toro is reflecting on that experience while chatting with Collider at a Q&A that was held this week and isn’t terribly upset about it not really coming together.
“I believe a movie is going to happen when the Blu-Ray comes out, that’s when I know things are going to happen. In the last moment, things go away. I’ve had it happen many many times. We had the rise and fall of Jabba The Hutt. So, I was super happy, and then it’s not my property, it’s not my money. It’s one of those thirty screenplays that goes away. Sometimes I’m bitter, sometimes I’m not. I always turn to my team and say ‘Good practice, guys. Good practice. We designed a great world, we designed great stuff, we learned.’ So, you can never be ungrateful with life. Whatever life sends you there is something to learn from it.”
If you consider what happened within “The Book of Boba Fett,” it might have made a “Jabba The Hutt” project a little redundant as you likely would have seen similar elements. It’ll be interesting to hear if “Fett” got the Jabba thing erased or if they used things developed by del Toro/Goyer in that series produced by Robert Rodriguez. However, given how inventive the Lucasfilm creature shop has been since “The Force Awakens” the potential of an alien creature-focused “Star Wars” movie with del Toro behind feels like such a loss for fans of both “Star Wars” and the filmmaker himself.
Next up for del Toro is a retelling of Mary Shelley‘s “Frankenstein” at Netflix with a cast that consists of Oscar Isaac, Mia Goth, Andrew Garfield, and Christoph Waltz. Filming on that according to the director is aiming to start sometime in February.
Anyway, you can watch del Toro’s thoughts on that experience in video form below.
The volume of unmade “Star Wars” projects keeps growing as we’ve now learned of TWO other films that had been in development by screenwriter David S. Goyer (“Blade,” “Batman Begins”). The longtime comic book film writer has now dished to the Happy Sad Confused podcast (See video below) that he not only was involved with a “Star Wars” film for Oscar-winning filmmaker Guillermo del Toro (“The Shape of Water”) “four years ago” but also another film that would have explored the origins of the Jedi set 25,000 years before the events of the original film from 1977.
The latter movie sounds a lot like what the “Game of Thrones” showrunners D.B Weiss and David Benioff had been reportedly developing at Lucasfilm before their own exit and what currently writer/director James Mangold (“Logan”) is trying to put together with his own take on the early days of The Force/Jedi.
Goyer and del Toro had previously worked together on the first big Marvel Comics sequel, “Blade II.”
There was once a time when del Toro had mused in an interview with Yahoo! back in 2015 about potentially tackling a Jabba The Hutt movie comparing it to a gangster film within the “Star Wars” universe by citing the “Godfather” saga as his inspiration.
“I would do the sort of ‘Godfather’ saga that Jabba the Hutt had to go through to gain control,” he said. “One, because it’s the character that looks the most like me, and I like him. I love the idea of a Hutt type of mafia, a very complex coup. I just love the character.”
However, given the poor reception of “Solo: A Star Wars Story,” gestating plans for other spinoff films that had been in the works such as Kenobi and Boba Fett feature films were scrapped. Later on, they were both resurrected as Disney+ miniseries. It’s possible whatever del Toro/Goyer was cooking up ultimately got shelved when the studio decided to focus on their streaming series.
UPDATE: Guillermo has confirmed on Twitter that it was indeed his Jabba project.
I’m not exactly sure what Lucasfilm was thinking by turning down a Jabba film from a recent Oscar-winning filmmaker, but you have to imagine that now with this information out in the wild people are going to be questioning that choice on the stuido’s part.
You can watch/listen to that exchange below.
True. Can't say much. Maybe two letters "J" and "BB" is that three letters? https://t.co/qpGaSD3y7F
Back in July, it was revealed that Justin Simien (“Haunted Mansion,” “Dear White People”) would no longer be developing the Lando Calrissian spinoff series, “Lando,” for Lucasfilm. Instead, the creative reins of the project would shift over to star Donald Glover (“Solo: A Star Wars Story) and his brother/writing partner Stephen Glover (“Atlanta”). It was sort of a shock that the studio was still pursuing the “Star Wars” project and potentially a welcome shift in development, as the Glovers are on quite a creative roll with their acclaimed FX series “Atlanta” getting a lot of attention.
Now, Stephen is suggesting during a podcast appearance on Pablo Torre Finds Out (See video below) that the project is no longer even a series but is pivoting towards becoming a feature film instead.
“It’s not even a show…I’m sure the nerds will figure it out anyway. They’ll read my lips or something…No, the idea right now is to do a movie. Right now because of the strike it’s kind of like ‘telephone,’ all the information coming out,” Glover said.
Could this be a way to attract “Solo” co-stars like Alden Ehrenreich and Emilia Clarke to reprise their roles after a shaky box office reception? I guess we’ll have to wait and see who exactly ends up appearing in this new movie incarnation.
Previously, both “Obi-Wan Kenobi” and “The Book of Boba Fett” started out as movies in development only to be snuffed out and resurrected as Disney+ original limited streaming series. However, given Lucasfilm’s current track record with slow crawl development on their recently announced feature films, we might not be getting “Lando” until 2030 or beyond (kidding, of course).
Lucasfilm’s growing number of films in development consists of one from Taika Waititi (“Thor: Ragnarok”), a force/Jedi origin film from James Mangold (“Logan”), Shawn Levy (“Deadpool 3”) is attached for another, Sharmeen Obaid-Chinoy (“Ms. Marvel”) is tackling a film set 15 years after the events of “The Rise of Skywalker” with Daisy Ridley attached to reprise her role of Rey Skywalker, and Dave Filoni (“Ahsoka”) is going to be making his big jump from TV to the big screen with another mysterious film set during the timeline of the streaming shows which is years after “Return of The Jedi.” It’s really hard to too excited knowing that a lot of these movies could have a similar fate to “Star Wars: Rogue Squadron” where there is a moment of excitement from it’s announcement to a thud when it just gets tossed into limbo.
We should all be cautiously optimistic for the moment until cameras actually roll on it because there seem to be a lot of “Star Wars” films announced to be in “development” but not many are actually getting made. With the WGA strike way past the 100-day mark, it would suggest that not a whole lot of writing has been happening with many of these projects in recent months.
PTFO SOURCES: The new Star Wars show about Lando Calrissian — made by Donald Glover and @Steve_G_Lover — is not supposed to be a show.
THE RONIN 