&#8220;Star Wars&#8221; creator George Lucas is returning to the big screen for the first time in nearly two decades, taking on a voice role in the newest film in the &#8220;Despicable Me&#8221; franchise.
Lucas hasn&#8217;t had a single acting credit since a 2007 &#8220;Robot Chicken: Star Wars&#8221; appearance, and largely stepped away from the film industry altogether after he sold Lucasfilm to Disney — but he will voice a surprise role in the upcoming &#8220;Minions and Monsters,&#8221; due out July 1.
The role <a href="https://variety.com/2026/film/news/george-lucas-role-minions-and-monsters-illumination-1236786427/">came about</a> as a result of Lucas&#8217;s love for the franchise, according to Illumination Studios founder Chris Meledandri.
&#8220;I had this privilege of meeting George about two years ago, and what led to my meeting him is how much he loves Illumination movies, and specifically ‘Despicable Me,’ and even more specifically, the &#8216;Minions,&#8217;” Meledandri told Collider. “It was such a thrill to learn that and then to share it with the team, because obviously he’s among a very small group of people who the entire studio shares a level of respect for that is just off the charts.&#8221;
Meledandri went on to say that as he and his team began to prepare for &#8220;Minions and Monsters&#8221; — which is set in the 1920s film industry and follows the little yellow imps as they attempt to make a monster movie — he had an idea for a role that might be a good fit for Lucas.
&#8220;An idea for a character came up out of the story, and so I said to Pierre [Coffin], who co-wrote the movie with Brian Lynch, and Bill Ryan, who produces with me on the film, and I just said, ‘Well, what if we could get George?’ And they’re like, ‘Are you kidding me?’ I had no idea, but I got such a fast yes,&#8221; he said.
And the collaboration may not end there: Meledandri also revealed that Lucas has spoken to him about a possible role in the next &#8220;Minions&#8221; movie as well.
The team has been tight-lipped about which role Lucas might play in the soon-to-be-released installment, but he&#8217;ll be joining fellow voice talents Jeff Bridges, Jesse Eisenberg, and Trey Parker, among others.

Rendez-Vous With George Lucas – The 77th Annual Cannes Film Festival

‘Star Wars’ Creator George Lucas Is Returning To The Big Screen

animated movie

Animation

George Lucas

Hollywood

Star Wars

This summer has been anything but normal in La La Land.
Two indie horror films, one made for less than $1 million, are crushing the box office. A Steven Spielberg film about aliens visiting Earth can only dream of catching up. The same holds for a film franchise “in a galaxy far, far away.”
Nothing makes sense in Hollywood now, and that might be the best news possible for a flailing industry and audiences hoping for more voices, not fewer.
The Old Guard is fading to black. Enter the New Guard, weaned on YouTube and ready to tell fresh stories that connect with Gen Z.
Take director Curry Barker. The 26-year-old isn’t a household name like Spielberg, unless you live on YouTube. Barker cut his teeth on the platform, delivering viral hits like the creepy “Milk &amp; Serial,” an hour-long found-footage film no studio would touch.
That convinced Hollywood to let him direct his first feature, “Obsession,” about a lovestruck man granted one powerful wish: Make the girl of his dreams fall in love with him.
It works, and that’s when the macabre elements rush in.
The micro-indie opened to a solid $17 million in U.S. theaters, but it just kept growing. The film made significantly more money in its subsequent two weekends, a feat that doesn’t happen without adding movie screens.
As of June 11, the film snuck back to <a href="https://www.boxofficemojo.com/date/2026-06-10/?ref_=bo_di_table_1">reclaim the top box office</a> slot nearly a month after it opened (May 15). Once again, that simply doesn’t happen.
But it did. And its worldwide total as of mid-June is north of $240 million. Hollywood already handed Barker the “Texas Chainsaw Massacre” franchise to revive. More gigs will follow, with one studio waving a <a href="https://www.hollywoodreporter.com/movies/movie-news/obsession-filmmaker-curry-barker-gets-7-figure-offer-1236606967/">$10 million check</a> in front of him to do something, anything, for them.
Here’s betting Kane Parsons will get similar offers. The 20-year-old director also flexed his storytelling chops on his YouTube channel (Kane Pixels), building on creepy stories that lurk across digital platforms like 4chan.
The result? “Backrooms,” which opened to $81 million stateside.
That comes on the heels of an early 2026 hit, “Iron Lung.” Once more, a neophyte director weaned on YouTube. Mark Fischbach, AKA Markiplier, wrote, edited, directed, and starred in a sci-fi/horror film that earned a stunning $40 million on a $3 million budget.
As if 2026 couldn’t get any more unpredictable, there’s “The Amazing Digital Circus.” The Australian animated series debuted the final two episodes of its first season in select theaters. That release, subtitled “The Last Act,” briefly topped the box office and ended its debut weekend <a href="https://www.boxofficepro.com/the-amazing-digital-circus-the-last-act-lands-standout-box-office-debut/">with more than $20 million</a>.
All for two TV-like episodes set to debut in less than a month, for free, on YouTube. We shouldn’t be shocked, though. The show’s pilot episode has generated <a href="https://www.youtube.com/watch?v=HwAPLk_sQ3w&amp;t=120s">440 million views</a> on the platform to date.
These films did more than just wildly overperform; they let YouTube storytellers have their say. They brought Gen Z back to theaters in droves. That’s what’s been missing in recent years. Something blamed on a generational shift, short attention spans, and a dearth of compelling content.
And it took a new guard of storytellers to make it happen.
Now, imagine this stunning success complemented by older, more established franchises and iconic directors. Except it’s not working out that way.
“The Mandalorian and Grogu,” the first new “Star Wars” feature since 2019’s “The Rise of Skywalker,” is underperforming. Badly. The film is laboring to crack the $300 million mark at the global box office, a fraction of what a “Star Wars” movie should earn.
For comparison, “The Rise of Skywalker” brought in $1 billion worldwide, and that film got skewered by franchise fans. The least successful “Star Wars” film in the modern era, “Solo: A Star Wars Story,” brought in $392 million in 2018.
And then there’s the man who gave us “Jaws,” “Jurassic Park” and “Raiders of the Lost Ark.” Spielberg’s new film, “Disclosure Day,” lets the Oscar winner revisit his most popular theme — aliens.
The thriller stars Emily Blunt, Colin Firth, and Colman Domingo, and early reviews are promising — north of 80 percent “fresh” at RottenTomatoes.com. Yet the film is expected to earn roughly <a href="https://deadline.com/2026/06/box-office-disclosure-day-projection-1236951773/">$35 million in its opening weekend in the U.S.</a>
Mediocre word of mouth could sink the film, and fast.
Once upon a time, a new Spielberg film felt like a cultural event, one that couldn’t be missed. That’s especially true for his summer-style features.
Not anymore.
Then there’s Clint Eastwood. The actor-director just turned 96, and various media reports suggest he’s either <a href="https://consequence.net/2026/06/clint-eastwood-may-not-be-retired/">retired or hasn’t decided yet</a>. Either way, the Hollywood legend has earned the right to sit back and marvel at his magnificent film legacy.
There won’t be another star like him, maybe ever.
Hollywood is in flux, and the new kids are in charge. It could also lead to more voices being heard and movie studios losing their iron grip on content. After all, technology is breaking down the barriers between artist and studio. Someone can shoot a movie on their iPhone and edit it on any number of cheap but powerful tools.
Plus, Fischbach self-distributed “Iron Lung,” bypassing the Hollywood gatekeepers — the same gatekeepers who often make sure select stories and voices aren’t heard on screen. We know which ones.
That won’t be the case for much longer.
The new, emerging Hollywood isn’t just saving the theatrical experience. It’s opening cinema up to fresh new ideas and, eventually, to more voices than ever before.
***
Christian Toto is an award-winning journalist, movie critic, and editor of <a href="http://www.hollywoodintoto.com/">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News&#8217; Big Hollywood. He&#8217;s also the host of <a href="https://podcasts.apple.com/us/podcast/the-hollywood-in-toto-podcast-w-christian-toto/id1186449155">The Hollywood in Toto Podcast</a>. Follow him at <a href="https://twitter.com/HollywoodInToto?lang=en">@HollywoodInToto</a>.

Los Angeles Special Screening Of Focus Features’ “Obsession” – After Party

Gen Z YouTube Creators Are Shaking Up Tinseltown

Entertainment

Gen Z

Independent Film

Steven Spielberg

The internet has been up in arms about one of the biggest Lego scandals in human history, involving a record-breaking Lego set and accusations of corporate greed, content farming, and police irresponsibility. 
 
Eric Mansell, along with his son Bryan, reportedly <a href="https://bricksandminifigs.com/blog/blog/2026/05/28/bricks-minifigs-salem-oregon-clarity-and-resolution/">collected</a> a Lego Star Wars collection consisting of 780 boxed Lego sets and 1,200 rare figures as an investment for his grandchildren. The collection was reportedly priced between $60,000 to $200,000. 
 
The family gave the collection to Bricks and Minifigs, an after-market Lego reseller, to sell on consignment. But when the store changed hands, the new owner refused Mansell access to the collection and denied even having it. 
 
“All you have to do is let me in back. We can go that route or we can go to court,” Mansell said he told the store owner, <a href="https://www.youtube.com/watch?v=wscQpkcwgNU">adding,</a> “And the guy there just looks at me, crosses his arms and goes, ‘Let me tell you what’s going to happen. If we go to court, we’re going to drag this thing out so long and you’re going to end up spending so much more money than your collection is ever worth or what you ever would have gotten out of it, then it ain’t worth it, man.’”
Bricks and Minifigs denied &#8220;knowingly&#8221; stealing the Lego collection, stating, “The actual origin of this dispute lies in an unauthorized, local consignment arrangement between an independent former franchisee of the Salem store and the Mansell family.” The company stated that the collection was not even in the store when Johnson and Brandon Best took it over, as the collection was moved to an &#8220;offsite secure location.&#8221; 
Bricks and Minifigs stated that it found between $2,000 and $5,000 worth of the sets in the store that could possibly belong to the Mansell family. It stated, “We offered to return these items to the Mansell family though BAM had no legal obligation to do so, but it was refused.”
“Neither corporate nor the incoming owners (Josh Johnson and Best) ever took, sold, or concealed this collection,” the company added, claiming that inventory logs show the collection was already missing at the time of the takeover of the franchise.
Ben Schneider, who is known on YouTube as Reckless Ben, brought the case to the public&#8217;s attention after he sought to help the family get compensation for the massive Lego set. Schneider even went to the Bricks and Minifigs store to look into the case, but the police were called and he was ordered to stay off the property after being <a href="https://www.youtube.com/watch?v=wscQpkcwgNU">accused</a> of harassment. Schneider was also accused of trespassing after he attempted to go to the office of Ammon McNeff, the CEO of Bricks and Minifigs.
After Schneider reportedly tried all forms of discussion with Best and his business associate Joshua Johnson, he managed to win a default judgement in a small claims court against them for the Legos. However, Best and Johnson closed the Bricks and Minifigs store shortly after the controversy erupted.
Schneider then tried to personally sue Johnson and Best to recover the money, but said he had difficulty having a good faith conversation and serving the court papers required to personally sue. 
Schneider said he waited outside Johnson’s house away from his property so he could talk with him about the lawsuit while not being accused of trespassing. Johnson reportedly <a href="https://www.youtube.com/watch?v=cxZPfj8AlmY">refused</a> to leave his property and called the cops multiple times on Schneider, one time allegedly accusing him of having heroin in his car, which turned out to be false. 
After Schneider was released on bail, the police later raided the house where Schneider and his friends were staying. The police arrested them all, and Schneider accused officers of dislocating his arm in the process.
Schneider and his friends were interrogated, and the police tried to keep Schneider in jail with no bail, but a judge allowed him to go. When Schneider was reportedly notified that there was another bail out for his arrest on the pretext that he was a physical threat to Johnson, he fled to Mexico to wait until things were sorted out.
In response to the ongoing problem with Schneider, Mansell, Johnson, and Best, Bricks and Minifigs filed a lawsuit against Schneider for conducting a harassment and extortion campaign against Bricks and Minifigs in Utah and Oregon. The company also <a href="https://bricksandminifigs.com/blog/blog/2026/05/28/bricks-minifigs-salem-oregon-clarity-and-resolution/">released</a> an official statement defending their side of the story.
The Bricks and Minifigs website has called Schneider and his content creator friends “zealous online profiteers” who have been engaged in “viral mischaracterizations” and &#8220;sensationalization&#8221; of their actions, and the actions of Johnson and Best.
Bricks and Minifigs also denied receiving verifiable copies of the signed contract, receipts of payment to the Mansell family, and a true listing of the inventory. It also said the store was closed “because our staff — including local teenagers — faced severe real-world safety hazards, targeted in-person stalking, and explicit bomb threats driven by viral videos.”
The American Fork Police Department posted a <a href="https://www.youtube.com/watch?v=IcVmSQpIPRY">video</a> detailing its perspective on the events, including previous claims about harassment, stalking, forging of signatures, and theft of Legos. The police department also stated it wanted to stop Schneider&#8217;s attempt to contact Johnson about the Legos because Johnson &#8220;reported that he was going to shoot someone as a result of the ongoing harassment.&#8221;
Schneider has also issued a <a href="https://www.youtube.com/watch?v=2YEzhDn0jY8">response</a> to the police video, stating that the police raided &#8220;my house for stealing the Legos when there&#8217;s an overwhelming amount of evidence that Josh stole the Legos&#8221; and that the police &#8220;redacted everything&#8221; that supported Schneider in the body cam footage, saying that the reason was &#8220;to protect the victims.&#8221;
Schneider also started a <a href="https://www.gofundme.com/f/help-bryan-recover-his-lego-collection">GoFundMe</a> to help the Mansell family recover the cost of their collections and to pay for legal fees as he is considering suing Best, Johnson, and the police department.
Most recently, Bricks and Minifigs released a statement <a href="https://bricksandminifigs.com/blog/blog/2026/06/04/bricks-and-minifigs-salem-joshua-johnson-brandon-best-resignation/">declaring</a> that it was permanently closing their Salem location, parting ways with Johnson and Best, and &#8220;personally reached out to Bryan Mansell and family to meet, to review documentation revealed in the investigation, and to come to a mutual and positive resolution.&#8221;

Legoworlds in the Bomann-Museum Celle

GRAND THEFT LEGO: How One Man’s ‘Star Wars’ Collection Set The Internet Ablaze

Corporate America

Corporations

Corruption

Internet

Lego

Oregon

Utah

Movie fans are going completely wild over two low-budget horror films, “Obsession” and “Backrooms,” which took an unusual path to surpass the latest “Star Wars” release at the box office over the weekend.
The new A24 release “Backrooms” brought in a record-breaking $81 million from 3,442 North American theaters during its opening weekend, as Variety <a href="https://variety.com/2026/film/box-office/backrooms-box-office-record-opening-weekend-obsession-jumps-star-wars-crumbles-1236763355/">reported</a>. “Obsession,” which premiered May 15, is still going strong in its third weekend and collected $26.4 million from 2,781 screens. Overall, the film made more than $100 million on what was effectively a shoestring budget.
“The Mandalorian and Grogu,” meanwhile, dropped 70% during its second weekend in theaters. So far, it has earned just over $246 million worldwide and finished third place last weekend behind both “Obsession” and “Backrooms.”
This is notable not only because of the massive brand recognition and budget behind “Star Wars,” but also because both horror films were created by young filmmakers who built audiences on YouTube. Some industry experts predict this will mark a shift towards more indie, creator-driven projects in the future.
Kane Parsons, now 20, directed “Backrooms.” It was inspired by a 2019 4chan post that became an active subculture and, eventually, a series of popular YouTube videos. Per <a href="https://www.wsj.com/business/media/gen-z-filmmakers-box-office-d05813d9?st=cvvaPZ&amp;reflink=desktopwebshare_permalink">The Wall Street Journal</a>, about 86% of ticket buyers were under 35.
“Obsession” has a similar backstory. It was written, directed, and edited by 26-year-old film school dropout Curry Baker, who also boasts a huge social presence. It cost $750,000 to make and has earned more than $104 million while drawing an audience that’s almost 75% between 18 and 35.
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“We’re really seeing the tide shift from these more conventional Hollywood narratives to something that feels more organic,” Kori Adelson, lead executive for “Backrooms” financial backing company Chernin Entertainment, said of the change.
Another industry insider had a similar take.
“Whether or not this is ushering in a new era or a paradigm shift for the business remains to be seen, but this YouTube creator-to-big screen pathway should be viewed as complementary,” Comscore’s head of marketplace trends, Paul Dergarabedian, told Variety of the surprising box office numbers. “It’s a production pipeline that has not existed until now.”
Social media users also chimed in, saying it’s all proof that making original content for a younger demographic is the key to success. 
“From ‘Paranormal Activity’ to ‘Backrooms’ and ‘Obsession,’ horror keeps proving that unconventional creators can become Hollywood’s next big filmmakers. Earlier it was indie outsiders, now it’s YouTubers &amp; internet creators bringing fresh storytelling and massive box office returns,” one commenter <a href="https://x.com/vishalchatkara/status/2061120874548523082">observed</a>. 
“When you make movies that young people&#8211;the demographic who most often frequent the movies&#8211;actually want to see, they show up to see it! What a phenomenon,” another X user <a href="https://x.com/JohnFriscia/status/2061162649275003217">agreed</a>.
“Omg who would have thought people wanna see movies that are original and creative without any identity politics vs the soulless cash grab slop from IPs,” a third person <a href="https://x.com/BigB__9332/status/2061288819983339594">wrote</a>. “&#8230;These companies have milked dry all the goodwill the fans once had for something like Star Wars.”

Inde Navarrette

Two Indie Horror Flicks Take Unconventional Path To Topple ‘Star Wars’ At The Box Office

Box Office

Horror Movies

Movies

The latest Star Wars movie, “The Mandalorian and Grogu,” is being trashed by mainstream critics who would normally be the most sympathetic viewers.
It currently has one of the worst review scores of any &#8220;Star Wars&#8221; film on review aggregator Rotten Tomatoes as the film gears up for its Memorial Day weekend debut. As of Wednesday, it’s sitting at a 60% critical rating with 120 total reviews.
That makes it one of the worst of the 12 “Star Wars” movies at the moment, with only “The Phantom Menace” and “The Rise of Skywalker” getting lower scores.
The plot description says, “The evil Empire has fallen but Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they enlist the help of legendary Mandalorian bounty hunter Din Djarin and his young apprentice Grogu.”
Many critics who saw it mentioned that it felt more like an extended, unnecessary episode of the Disney+ series “The Mandalorian,” which premiered in 2019. They argued it didn’t deserve a theatrical release at all.
“&#8217;The Mandalorian and Grogu&#8217; merely stitches together what is clearly three episodes of the previously planned fourth season of The Mandalorian and calls it a day. There’s not a whiff of effort here,” a review from The Independent <a href="https://www.the-independent.com/arts-entertainment/films/reviews/mandalorian-grogu-movie-review-star-wars-b2980000.html">said</a>. 
“As a mid-season arc for the character of ‘Pedro Pascal’s sultry voice inside a metal bucket’ and his tiny, puppet son, this might have been adequate, if uninspired. As a so-called feature film event, blown up to Imax with Sigourney Weaver roped in to deliver a few lines, it’s the dullest and most inconsequential Star Wars film ever made,” the reviewer added.
“There’s no reason for anything in this movie except the wish to make even more money,” the reviewer from Roger Ebert <a href="https://www.rogerebert.com/reviews/star-wars-the-mandalorian-and-grogu-pedro-pascal-movie-review-2026">observed</a>, giving the film 1.5 stars out of a possible 4.
“The runtime saps energy and when it’s all done, the scrolling credits for all those special effects goes on a full five minutes. You used to leave a new &#8216;Star Wars&#8217; movie on a cloud. Here, that galaxy is far, far away,” the <a href="https://apnews.com/article/mandalorian-grogu-movie-review-star-wars-970e8562f8adf65c6cb03cb845f84b85">reviewer</a> from Associated Press wrote.
Even the good reviews weren’t that great. 
“Mandalorian and Grogu is, basically, four Mandalorian episodes wearing an IMAX trench coat,” one review said.
“The plot is non-existent and it really does feel like a fully CGI movie. But when it&#8217;s just Mando and Grogu going from A to B it&#8217;s such a sweet story,” another <a href="https://thefilmmaven.com/the-mandalorian-and-grogu-review/">wrote</a>.
The project was <a href="https://www.slashfilm.com/2172558/the-mandalorian-and-grogu-box-office-preview-star-wars-movie/">reportedly</a> relatively low-cost for a “Star Wars” film with a rumored budget of around $165 million, including a $21.75 million conditional <a href="https://www.gov.ca.gov/2024/02/26/star-wars-the-mandalorian-grogu-to-be-filmed-in-california-through-the-states-film-and-tv-tax-credit-program/">tax credit</a> by the California Film Commission. That would mean it needs to make around $400 million to break even. 
“The Mandalorian and Grogu” debuts in theaters nationwide beginning this Friday, May 22.

Mandalorian and Grogu

Even Mainstream Critics Hate The New ‘Star Wars’ Movie

Disney

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After fourteen years of guiding the Star Wars galaxy through a series of increasingly turbulent hyperspace jumps, Kathleen Kennedy is finally <a href="https://www.hollywoodreporter.com/movies/movie-news/star-wars-kathleen-kennedy-steps-down-dave-filoni-1236465012/">stepping down</a> as president of Lucasfilm.
For the critics who have spent a decade watching the most storied franchise in cinematic history trade timeless heroism for the dismal gray hues of modern identity politics, the news is a seismic, if long-overdue, development.
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Kennedy, whose career began as Steven Spielberg’s secretary before she ascended to produce hits like E.T., was handpicked by George Lucas in 2012. However, under Disney’s $4 billion ownership, her tenure became a Rorschach test for the &#8220;woke&#8221; transformation of Hollywood. While early efforts like The Force Awakens capitalized on pure nostalgia to rake in billions, the subsequent years were defined by creative chaos and a widening chasm between the studio and its core audience.
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Under Kennedy’s watch, the franchise famously &#8220;put a chick in it&#8221; — as South Park brutally parodied — often at the expense of established lore and beloved legacy characters. From the sidelining of Luke Skywalker to the &#8220;Mary Sue&#8221; critiques of the sequel trilogy, the brand struggled to maintain its gravity. Production was marred by the firing of directors, the rejection of projects from Game of Thrones creators, and the flat-out rejection of shows like The Acolyte by fans weary of diversity pandering.
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One blogger <a href="https://www.deviantart.com/mlp-headstrong/journal/Kathleen-Kennedy-is-why-Star-Wars-is-Bad-994026113" target="_blank" rel="noopener">wrote</a>, “These days, the Star Wars franchise is a mess of live-action con jobs and Mary Sues, and we can all blame Kathleen Kennedy for her significant part in ruining the whole franchise. Kennedy was placed as the head of Lucasfilm by George Lucas to keep Star Wars from going off the rails. However, she wanted the Force to be ‘female’ and after taking control of Lucasfilm, she set about manufacturing the template. &#8230; Utterly humiliate the characters people love and replace them with generic, threadbare, overpowered self-inserts that the audience was supposed to love.&#8221;
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Taking the reins is Dave Filoni, the Lucas-mentored creative mind behind the animation boom and The Mandalorian, who will serve as president alongside business lead Lynwen Brennan. This &#8220;creative versus suit&#8221; split is a classic Disney maneuver, designed to stabilize a ship that has been spinning its wheels in development hell.
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Kennedy isn&#8217;t vanishing into the Outer Rim just yet; she remains a producer on upcoming projects like The Mandalorian and Grogu. Yet, her departure signals the end of an era defined by &#8220;The Force is Female&#8221; slogans and the beginning of a desperate attempt to recapture &#8220;a more civilized age.&#8221; Whether Filoni can bridge the gap between niche lore and universal appeal — or if the franchise is too far gone into the &#8220;lame and gay&#8221; abyss mocked by critics — remains the ultimate cliffhanger for Disney’s bottom line.
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Launch Of Disney+ And Lucasfilm New TV Series “The Acolyte”

A New Hope? Kathleen Kennedy Finally Hits The Ejection Seat From The Star Wars Franchise

A New Hope? Kathleen Kennedy Finally Hits The Ejection Seat

Katherine Kennedy

Lucasfilm

“Star Wars” alum Oscar Isaac said he would be willing to return to the franchise if Disney stayed woke.
The actor played X-wing fighter pilot Poe Dameron in the Star Wars sequel trilogy that began with “The Force Awakens” in 2015. During a newly published <a href="https://www.gq.com/story/oscar-isaac-gq-cover-story-interview-men-of-the-year-2025">interview</a> with GQ, Isaac reflected on a comment he previously made about returning to “Star Wars” only if he “needed another house.”
“Yeah. That was a real likable quote. Jesus Christ,” he told the interviewer after it was brought up. “Y’know, people ask you things, you say stuff, you don’t really think about it that much. I said a slightly d***ish thing.”
Isaac had said he was done with Disney for years, but now claims to be “open to” returning, with stipulations.
“Although right now I’m not so open to working with Disney,” he told GQ. “But if they can kinda figure it out and, you know, not succumb to fascism, that would be great,” Isaac added.
The interview included an editor’s note, noting it was “conducted two days after ABC and Disney suspended production of Jimmy Kimmel Live! in response to comments Kimmel made following the death of Charlie Kirk. Kimmel was back on the air four days after this conversation took place.”
Isaac appeared in several “Star Wars” franchise films, including “The Last Jedi” (2017) and “The Rise of Skywalker” (2019). He also voiced the character Dameron in the “Star Wars Resistance” animated series. 
Hollywood went into full-on meltdown mode following Kimmel’s suspension in September. Most celebrities blamed President Donald Trump for the suspension.
Kimmel’s remarks were taken to imply that Kirk’s killer was linked to Donald Trump’s “Make America Great Again” movement. Investigators say that the 22-year-old man arrested for Kirk’s killing was deeply steeped in leftist ideology and disliked Kirk for his conservative views.
“We hit some new lows over the weekend with the MAGA gang desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it,” Kimmel said during the monologue in question.
When he returned following a brief suspension, Kimmel claimed that “it was never my intention to make light of the murder of a young man.”

Oscar Isaac

‘Star Wars’ Actor Says He’ll Work With Disney If It Passes His Woke Purity Test

'Star Wars' Actor Said He'll Work With Disney Only If It Doesn't 'Succumb To Fascism'

Celebrities

Fascism

U.S.

Anti-woke voices share a social media saying when sanity returns to the culture, be it acknowledging that sex sells in ads or proof that Cancel Culture is on the run.
Nature is healing.
That rings true regarding the saga of Gina Carano. The MMA standout-turned-action heroine had it all – a burgeoning career, the adoration of fans and a plum gig on Disney+’s “The Mandalorian.”
Then Disney fired her for “problematic” social media posts.
Carano just settled her lawsuit against the Mouse House with the suggestion that the two sides might work together on future projects. She didn’t land a knockout legal blow but staring down arguably the biggest company in Hollywood proved a victory all the same.
You might call it a healing moment.
She wasn’t destined for movie stardom, at least not during her MMA days. As fate would have it, Oscar-winning director Steven Soderbergh saw something in Carano while watching her on TV. He eventually crafted an action thriller around her beauty and brawn via 2011’s “<a href="https://www.imdb.com/title/tt1506999/">Haywire</a>.”
<div id="attachment_958907" style="width: 991px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-958907" class="wp-image-958907 size-large" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-139034717-981x576.jpg" alt="BERLIN, GERMANY - FEBRUARY 15: Actors Antonio Banderas and Gina Carano attend the &quot;Haywire&quot; Press Conference during day seven of the 62nd Berlin International Film Festival at the Grand Hyatt on February 15, 2012 in Berlin, Germany. (Photo by Sean Gallup/Getty Images)" width="981" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-139034717-981x576.jpg 981w, https://dw-wp-production.imgix.net/2025/08/GettyImages-139034717-300x176.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-139034717-768x451.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-139034717.jpg 1024w" sizes=" (max-width: 981px) 100vw, 981px" />Sean Gallup/Getty Images</div>
The film <a href="https://www.boxofficemojo.com/title/tt1506999/?ref_=bo_se_r_1">wasn’t a smash</a>, but it proved she could act alongside established stars like Antonio Banderas, Channing Tatum, and Michael Fassbender. The Hollywood door creaked open.
She kept working on screen, landing notable roles in “Deadpool,” “Fast &amp; Furious 6” and “Extraction.”
And then came “The Mandalorian.” Disney finally got the “Star Wars” magic right with the TV series starring Pedro Pascal as the title character. She joined the cast as Cara Dune, a loner seeking vengeance against the Empire for terminating her home planet of Alderaan. She quickly became a fan favorite, and buzz began to build that Disney+ would spin off her character into her own show.
Carano says “Mandalorian” director Jon Favreau of “Iron Man” fame told her, <a href="https://www.hollywoodreporter.com/tv/tv-features/gina-carano-interview-madalorian-firing-elon-musk-disney-1235851597/">“your life is about to change.”</a>
<div id="attachment_958915" style="width: 862px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-958915" class="size-large wp-image-958915" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-1187551494-852x576.jpg" alt="HOLLYWOOD, CALIFORNIA - NOVEMBER 13: (L-R) Ming-Na Wen, Pedro Pascal, Executive Producer Jon Favreau, Executive Producer/Director Dave Filoni, Gina Carano, Carl Weathers, Executive Producer Kathleen Kennedy and Werner Herzog arrive at the premiere of Lucasfilm's first-ever, live-action series, &quot;The Mandalorian,&quot; at the El Capitan Theatre in Hollywood, Calif. on November 13, 2019. &quot;The Mandalorian&quot; streams exclusively on Disney+. (Photo by Alberto E. Rodriguez/Getty Images for Disney)" width="852" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-1187551494-852x576.jpg 852w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1187551494-300x203.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1187551494-768x519.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1187551494.jpg 1024w" sizes=" (max-width: 852px) 100vw, 852px" />Alberto E. Rodriguez/Getty Images for Disney</div>
She was this close to stardom, the kind young actors can only dream about. Except Carano didn’t follow Hollywood’s progressive playbook. She wasn’t openly conservative, but she began questioning COVID-19 protocols on social media, echoing the thoughts of many Americans but not the Legacy Media or the Left.
She pushed for election reform, noting how fellow Americans lacked trust in the current system. Once again, a fairly mainstream view was suddenly deemed out of bounds following President Joe Biden’s 2020 election victory over Donald Trump.
She considered putting up a black square following the death of George Floyd, but she didn’t want to follow the crowd with empty posturing.
Worst of all to the woke Left, she refused to put her pronouns in her social media bio, instead using a trio of silly words – Beep/Bop/Boop.
The Left went into a frenzy over that stunt, while she defended her actions as a stand against <a href="https://x.com/ginacarano/status/1305301756792860674">social media bullying</a>.
<blockquote class="twitter-tweet">
Beep/bop/boop has zero to do with mocking trans people 🤍&amp; 💯 to do with exposing the bullying mentality of the mob that has taken over the voices of many genuine causes.
I want people to know you can take hate with a smile. So BOOP you for misunderstanding. 😊 <a href="https://twitter.com/hashtag/AllLoveNoHate?src=hash&amp;ref_src=twsrc%5Etfw">#AllLoveNoHate</a> <a href="https://t.co/Qe48AiZyOL">pic.twitter.com/Qe48AiZyOL</a>
— Gina Carano 🕯 (@ginacarano) <a href="https://twitter.com/ginacarano/status/1305301756792860674?ref_src=twsrc%5Etfw">September 14, 2020</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
Credit: @ginacarano/X
Carano later revealed that Team Disney stepped in, asking her to stop sharing her thoughts online. She added the company put her through media training and even wanted to set up a Zoom meeting between the starlet and <a href="https://www.hollywoodreporter.com/tv/tv-features/gina-carano-interview-madalorian-firing-elon-musk-disney-1235851597/">45 LGBTQ+ Disney employees</a>, all angry at her refusal to share her pronouns.
Carano declined the offer, instead suggesting she have dinner with a much smaller group to reach across the cultural aisle. They refused, she contends.
Disney seemingly craved an excuse to cut ties with Carano. The company got it when she shared a plea for tolerance that evoked Nazi Germany.
<blockquote>Jews were beaten in the streets, not by Nazi soldiers but by their neighbors … even by children … Because history is edited, most people today don’t realize that to get to the point where Nazi soldiers could easily round up thousands of Jews, the government first made their own neighbors hate them simply for being Jews. How is that any different from hating someone for their political views?</blockquote>
Disney used the post as a pretext for termination. Disney&#8217;s <a href="https://www.dailywire.com/news/gina-carano-lucasfilm-which-fired-her-pushing-her-for-an-emmy">explanation for her dismissal</a> angered many fans.
<blockquote>Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future. Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.</blockquote>
One problem? The post did no such thing. Another problem? Fellow Disney stars said far worse on social media sans punishment. 
Many called out Pascal for a post comparing <a href="https://ewerickson.substack.com/p/meet-the-double-standard-in-cancel">Trump voters to Nazis.</a>
Left unsaid? Disney worked with Bette Midler on “Hocus Pocus 2” following Carano’s dismissal, but Midler’s social media posts can be <a href="https://www.hollywoodintoto.com/disney-cancel-bette-midler-hocus-pocus-2/">cruel and dehumanizing</a>.
Disney opted not to punish either star or put them through media training.
Carano stopped working in traditional Hollywood. She next starred in The Daily Wire’s original western “<a href="https://www.dailywire.com/videos/terror-on-the-prairie?row=0&amp;elementPosition=28&amp;rowType=Square+Show+Carousel">Terror on the Prairie</a>” – a deal signed days after Disney’s dismissal. She also landed a small part in “My Son Hunter,” a Breitbart original film about Hunter Biden directed by Robert Davi.
<div id="attachment_395948" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-395948" class="wp-image-395948 size-large" src="https://dw-wp-production.imgix.net/2022/06/D5B28657-62DD-4F0E-AA27-D4F70780BFC7-1024x576.jpeg" alt="Gina Carano in &quot;Terror on the Prairie.&quot; The Daily Wire/Bonfire Legend" width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2022/06/D5B28657-62DD-4F0E-AA27-D4F70780BFC7-1024x576.jpeg 1024w, https://dw-wp-production.imgix.net/2022/06/D5B28657-62DD-4F0E-AA27-D4F70780BFC7-300x169.jpeg 300w, https://dw-wp-production.imgix.net/2022/06/D5B28657-62DD-4F0E-AA27-D4F70780BFC7-768x432.jpeg 768w, https://dw-wp-production.imgix.net/2022/06/D5B28657-62DD-4F0E-AA27-D4F70780BFC7-1536x864.jpeg 1536w, https://dw-wp-production.imgix.net/2022/06/D5B28657-62DD-4F0E-AA27-D4F70780BFC7-2048x1152.jpeg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Gina Carano in &#8220;Terror on the Prairie.&#8221; The Daily Wire/Bonfire Legend</div>
Her career appeared to be over, at least within official Hollywood corridors. Then Elon Musk caught wind of her story and offered to pay for Carano to sue Disney for wrongful termination.
That powerful backing made all the difference. <a href="https://people.com/gina-carano-settles-lawsuit-disney-mandalorian-firing-thanks-elon-musk-11787322">Disney’s official statement</a> following the settlement suggests she might return to the “Star Wars” galaxy at some point. A “Mandalorian” feature film is tentatively slated for a May 2026 release.
<blockquote>Ms. Carano was always well respected by her directors, co-stars, and staff, and she worked hard to perfect her craft while treating her colleagues with kindness and respect… With this lawsuit concluded, we look forward to identifying opportunities to work together with Ms. Carano in the near future.</blockquote>
It’s unclear if Hollywood, still a relentlessly liberal enclave that discriminates against some conservatives, will hire Carano for new projects.
By standing firm and defending her right to speak freely, however, she can hold her head high no matter the direction her acting career takes from here.
* * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News’ Big Hollywood. Follow him at <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

FAN EXPO Canada 2024

The Rebel Returns: The Vindication Of Gina Carano

Acting

Cancel Culture

Elon Musk

Gina Carano

The Mandalorian

Years after firing Gina Carano from the “Star Wars” spinoff “The Mandalorian” in 2021, Lucasfilm and the Walt Disney Company have settled their dispute.
“The Walt Disney Company and Lucasfilm are pleased to announce that we have reached an agreement with Gina Carano to resolve the issues in her pending lawsuit against the companies,” a Lucasfilm spokesperson said in a statement, per <a href="https://variety.com/2025/biz/news/gina-carano-disney-settle-mandalorian-firing-1236481982/">Variety</a>. 
“Ms. Carano was always well respected by her directors, co-stars and staff, and she worked hard to perfect her craft while treating her colleagues with kindness and respect. With this lawsuit concluded, we look forward to identifying opportunities to work together with Ms. Carano in the near future,” the statement continued.
Carano reacted to the settlement with a <a href="https://x.com/ginacarano/status/1953575719554232400">post</a> on X, thanking Elon Musk and her lawyers.  “I am humbled and grateful to God for His love and grace in this outcome,” she wrote. “I’d like to thank you all for your unrelenting support throughout my life and career, you’ve been the heartbeat that has kept my story alive. I hope to make you proud.”
<blockquote class="twitter-tweet">
I have come to an agreement with Disney/Lucasfilm <a href="https://twitter.com/Disney?ref_src=twsrc%5Etfw">@disney</a> <a href="https://twitter.com/Lucasfilm?ref_src=twsrc%5Etfw">@Lucasfilm</a> which I believe is the best outcome for all parties involved. I hope this brings some healing to the force.
I want to extend my deepest most heartfelt gratitude to Elon Musk, <a href="https://twitter.com/elonmusk?ref_src=twsrc%5Etfw">@elonmusk</a> a man I’ve never met,… <a href="https://t.co/qiAX7W1vgf">https://t.co/qiAX7W1vgf</a>
— Gina Carano 🕯 (@ginacarano) <a href="https://twitter.com/ginacarano/status/1953575719554232400?ref_src=twsrc%5Etfw">August 7, 2025</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
“I am excited to flip the page and move onto the next chapter. My desires remain in the arts, which is where I hope you will join me,” Carano concluded. “Yes, I’m smiling.”
The actress was <a href="https://www.dailywire.com/news/judge-rules-against-disneys-motion-to-dismiss-gina-caranos-wrongful-termination-suit?author=Hank+Berrien&amp;category=News&amp;elementPosition=undefined&amp;row=0&amp;rowType=Vertical+List&amp;title=Judge+Rules+Against+Disney%E2%80%99s+Motion+To+Dismiss+Gina+Carano%E2%80%99s+Wrongful+Termination+Suit">axed by Disney</a> in 2021 after she posted a screenshot of another social media post that warned of the political climate at the time resembling Nazi Germany. 
Her post said, “Jews were beaten in the streets, not by Nazi soldiers but by their neighbors…even by children. Because history is edited, most people today don’t realize that to get to the point where Nazi soldiers could easily round up thousands of Jews, the government first made their own neighbors hate them simply for being Jews. How is that any different from hating someone for their political views?”
Disney faced massive backlash for its actions against Carano, while some of the actress’s fellow castmates defended her.
Shortly after the high-profile termination, Carano partnered with The Daily Wire for a movie deal that resulted in the feature film “Terror on the Prairie,” which premiered in June 2022.

‘Yes, I’m Smiling’: Disney Settles Lawsuit With Gina Carano Over ‘Mandalorian’ Firing

Disney Settles Lawsuit With Gina Carano Over 'Mandalorian' Firing

Lawsuit

Matt Walsh is a man of many talents — a popular podcaster, a notable documentarian, a feared fisherman, and a <a href="https://www.youtube.com/watch?v=kyrDtgjAgII" target="_blank" rel="noopener">surprisingly good</a> &#8220;Mortal Kombat&#8221; player. There is one persistent trait, however, that must be addressed: his passionate hatred of &#8220;Star Wars.&#8221;
I discovered Walsh’s animosity for &#8220;Star Wars&#8221; in May of 2023 while listening to his <a href="https://www.dailywire.com/episode/ep-1156-princeton-professor-tries-to-debunk-biology-fails-hilariously?elementPosition=155&amp;row=0&amp;rowType=Vertical+Show+Episodes+Carousel">show</a>. After hearing I played a recently released &#8220;Star Wars&#8221; game, he looked dead into the camera and said he was “repulsed by (me) completely.” And then continued to call me a “complete and utter disgrace.” Harsh. 
Last Thursday, theaters nationwide <a href="https://www.instagram.com/p/DIbYlxVpJnc/">launched</a> a week-long re-release of “Star Wars: Episode III – Revenge of the Sith” to celebrate the film&#8217;s 20th anniversary. The film stands out not only for its stunning cinematography, one of a kind soundtrack, and compelling life-lessons, but also as the final “Star Wars” entry before progressive-infused Disney’s acquisition.
Walsh, apparently, did not recognize the exceptional film for what it is. After taking his children to see it in theaters, he <a href="https://x.com/MattWalshBlog/status/1917266257956724823" target="_blank" rel="noopener">took</a> to X and attacked the movie.
I will now address his unfounded criticisms.
His first issue is with the film’s dialogue. Walsh claims “Revenge of the Sith” has “the worst dialogue he’s ever heard in a mainstream Hollywood film.” To support his claim, he quotes a romantic scene between Anakin Skywalker and Padme Amidala: 
<blockquote>Anakin: You’re so beautiful 
Padme: It’s only because I’m so in love
Anakin: No it’s because I’m so in love with you 
Walsh leaves out the second half of the scene, which reveals the lines are not poorly written, but instead an intentional foreshadowing of what is to come later in the film. The scene continues;
Padme: So love has blinded you?
Anakin: Well, that&#8217;s not exactly what I meant. 
Padme: But it’s probably true.</blockquote>
At this point in the film, Anakin believes his wife is going to die in childbirth because of a <a href="https://www.youtube.com/watch?v=BLb_k4Pz3CM" target="_blank" rel="noopener">vision </a>he has in his sleep. As the primary antagonist, Emperor Palpatine (not Ovaltine) tells him that committing to the Dark Side is the only way to save her. This, and his blinding love for Padme, leads him to commit the atrocities he does later in the film. Pure genius from George Lucas, who Walsh claims should be arrested.
<div id="attachment_914885" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-914885" class="size-large wp-image-914885" src="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-1024x576.jpg" alt="Star Wars: Episode III - Revenge of the Sith (2005). Hayden Christensen and Natalie Portman. Lucasfilm, Ltd. All rights reserved." width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Lucasfilm, Ltd. All rights reserved.</div>
Walsh’s next criticism of the film is that it has “abysmal action choreography.” To me, this attack is the most absurd. 
The final <a href="https://www.youtube.com/watch?v=S3OtoO5zjjU&amp;t=358s">fight</a> between Anakin and Obi-Wan Kenobi, master versus apprentice, is one of the most iconic fight scenes in cinema history. Numerous outlets such as <a href="https://www.youtube.com/watch?v=4VpsG7JA-jc" target="_blank" rel="noopener">WatchMojo</a>, <a href="https://screenrant.com/best-movie-sword-fights-ranked/" target="_blank" rel="noopener">ScreenRant</a>, and <a href="https://movieweb.com/best-one-on-one-sword-fights-in-movies/" target="_blank" rel="noopener">MovieWeb</a> all rank the battle as one of the greatest sword fights in movie history. The fight was choreographed by legendary stuntman Nick Gillard, and is not sped up at all. Both actors trained relentlessly to master each move shown on camera.
<div id="attachment_914883" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-914883" class="size-large wp-image-914883" src="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-1024x576.jpg" alt="Star Wars: Episode III - Revenge of the Sith (2005). Hayden Christensen and Ewan McGregor. Lucasfilm, Ltd. All rights reserved. " width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Lucasfilm, Ltd. All rights reserved.</div>
Walsh specifically attacks the final move of the duel between Obi-Wan and Anakin, saying the following;
<blockquote>Anakin jumps and flips through the air like Spider-Man but then at the end he loses because the other guy is standing on a small hill and has the higher ground. This was for some reason an insurmountable strategic advantage, even though Anakin had just seconds earlier leaped like 20 feet in the air while doing flips like an Olympic gymnast. So then Anakin decides to jump directly over top the other guy, close enough that he can just casually reach up and cut his legs off. He could have jumped anywhere else on the hill, or just a little higher, and avoided this issue.</blockquote>
Like many things Walsh has criticized in the film, the seemingly risky move Anakin used was intentional. Young Anakin Skywalker was fascinated by his master Obi-Wan’s triumph over Darth Maul in “Episode I: The Phantom Menace.” To defeat Maul, Obi-Wan <a href="https://www.youtube.com/watch?v=lsAEdblcqU4" target="_blank" rel="noopener">flipped over him</a> and cut him in half upon landing.
When Anakin fights Obi-Wan, his pride and ego is at an all time high. He wants to prove to his once-master that he is now his superior. This is why moments before the final move, Anakin tells Obi-Wan, “You underestimate my power!”
Obi-Wan can sense Anakin is going to try his own move against him, so he offers one final warning, “Don’t try it.” Anakin did not listen, and ended up getting his legs cut off.
Walsh also criticized where the battle takes place, on a lava planet “for some reason.” He clearly suffers from a lack of knowledge in &#8220;Star Wars&#8221; lore. It’s the same reason he doesn’t understand why Anakin jumped over Obi-Wan.
The planet they fought on, Mustafar, is <a href="https://starwars.fandom.com/wiki/Mustafar" target="_blank" rel="noopener">described</a> by Wookiepedia as “powerful in the Dark Side of The Force.” Palpatine sent Anakin there so he could tap into the Dark Side more intensely as he slaughtered the separatists who were awaiting him. In the 2017 comic Darth Vader 5, Palpatine <a href="https://starwars.fandom.com/wiki/Darth_Vader_(2017)_5" target="_blank" rel="noopener">instructs</a> Vader to return to Mustafar because it “is not like other planets. It is unique. Deep beneath its surface rests a locus for the Dark Side of The Force.&#8221;
Vader was so drawn to the planet’s Dark Side power that seven years after “Revenge of the Sith,” he built his <a href="https://starwars.fandom.com/wiki/Fortress_Vader" target="_blank" rel="noopener">castle</a>, Fortress Vader, there. 
Walsh’s final objection to the film was that it “took itself too seriously.” He expands on this by claiming “You can’t be campy and fun and also have mass child slaughter in the same film.”
Most of Walsh&#8217;s criticisms come from a lack of looking beneath the surface, taking everything at face value. “Revenge of the Sith” was always meant to be lighthearted in the beginning, and tragic in the end. After nearly three decades of fans left without a backstory, the purpose of the movie was to show how Hollywood’s most iconic villain, Darth Vader, transformed from a cunning warrior for good, to the embodiment of evil.
Following the classic hero&#8217;s journey literary archetype, we witness Anakin’s lighthearted upbringing in Episodes 1 and 2, his tragic fall in the second half of Episode 3, and his eventual redemption in Episode 6. A story that George Lucas brilliantly wrote and produced over 3 decades.
Walsh’s tweet thread ends on a lighter note, expressing that despite all of his concerns, his kids liked it. To me and countless other fans who believe “Revenge of the Sith” is one of the greatest films ever made, we can only hope Matt Walsh will read this piece and watch it again with an open mind.
* * *
Jacob Falach is an associate producer at The Daily Wire. You can find him on Instagram at: @jacobfalach.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.
Correction: A previous version of this article stated Ray Park was the fight and stunt coordinator for the film. The actual fight and stunt coordinator for &#8220;Revenge of the Sith&#8221; was Nick Gillard.

Star Wars Episode III – Revenge Of The Sith Photocall In Japan

Why Matt Walsh Is Wrong About ‘Revenge Of The Sith’

Why Matt Walsh Is Wrong About 'Revenge Of The Sith'

Film Reviews

Matt Walsh

Movie Theaters

Opinion

The Daily Wire

Video Games

“Star Wars” fans are reeling from the unexpected rape scene in the new season of the popular series “Andor,” which just released the first three episodes of season two this week on Disney+.
So far, the “Star Wars” franchise has stayed away from sexual content beyond insinuations, but in episode three, that all changed. During the scene in question, an Imperial officer tries to rape the Rebel fugitive Bix Caleen (Adria Arjona) when she’s hiding out in a farming settlement to avoid Imperial troops who are rounding up “undocumented” citizens, per <a href="https://www.hollywoodreporter.com/tv/tv-news/andor-star-wars-season-2-bix-rape-interview-1236191397/">The Hollywood Reporter</a>.
Bix wins out in the life or death battle that ensues, then clarifies what just occurred when she screams, “He tried to rape me!”
“Andor” creator Tony Gilroy explained why he felt it was important to include the scene, saying it helped convey the realities of war.
“I get one shot to tell everything I know — or can discover, or that I’ve learned — about revolution, about battles, with as many incidents and as many colors as I can get in there, without having [the story] tip over,” Gilroy told the outlet. 
“I mean, let’s be honest, man: The history of civilization, there’s a huge arterial component of it that’s rape,” he added. “All of us who are here — we are all the product of rape. I mean armies and power throughout history [have committed rape]. So to not touch on it, in some way … It just was organic and it felt right, coming about as a power trip for this guy. I was really trying to make a path for Bix that would ultimately lead to clarity — but a difficult path to get back to clarity.”
Gilroy also noted that the studio didn’t give him pushback about including the topic. “No one ever ever said anything about it, ever,” the “Andor” creator said. “But I mean, we have limits on what we can do. We are very aware of what we can do sexually and violence wise. Those limits are made very clear.”
Arjona said she felt empowered during the scene. “The fact that I get to speak [the word rape] out [loud] — I felt so much power in that,” she told <a href="https://variety.com/2025/tv/news/andor-adria-arjona-bix-attempted-rape-1236375525/">V</a><a href="https://variety.com/2025/tv/news/andor-adria-arjona-bix-attempted-rape-1236375525/">ariety</a>. “I felt it throughout the day. I felt it when I finished filming, and I went home.”
Fans had mixed reactions to the episode. 
“SA in SW feels unnecessary. You can portray power dynamics and making the audience hate the empire in other ways without taking it to such a disgusting place,” one X user <a href="https://x.com/realswtheory/status/1914896363051212849">wrote</a>. “Vader wouldn&#8217;t tolerate that sh** nor does the Empire condone it. It has no place in Star Wars. Period. Unnecessary.”
“[S]ome of you really do need to grow up because this is exactly what the empire would do, despite it making you uncomfortable. thats the POINT? an imperial officer using his unchecked power to attempt to rape someone he deems illegal is exactly what the empire condones,” another person <a href="https://x.com/kattywumpas_/status/1915027886953681353">argued</a>.

Adria Arjona

‘Andor’ Creator Discusses Rape Scene In ‘Star Wars’ Series: ‘We’re All The Product Of Rape’

'Andor' Creator Discusses  Rape Scene In 'Star Wars' Series: 'We're All The Product Of Rape'

Rape

Television

A 1977 version of “Star Wars,” which George Lucas refused to put on the big screen, is heading to theaters. 
The original release, then called just “Star Wars,” now referred to as “Star Wars: Episode IV — A New Hope,” was constantly tweaked after its original release by Lucas. The filmmaker referred to these new, slightly altered versions as “Special Editions.” According to <a href="https://www.hollywoodreporter.com/movies/movie-news/star-wars-original-cut-edit-screening-george-lucas-1236191847/">The Hollywood Reporter</a>, some of those changes were subtle while others were more significant. 
In June, the British Film Institute’s Film on Film Festival will include a screening of one of the Technicolor prints from the original “Star Wars” run. The Telegraph <a href="https://www.telegraph.co.uk/films/0/star-wars-original-print-george-lucas-bfi/">noted</a> that this represents the first time this version of the iconic space drama has been shown on the big screen since December 1978.
“We’re delighted to announce the programme for the second edition of the BFI Film on Film Festival, taking place at BFI Southbank and BFI IMAX from 12 to 15 June 2025 and opening with Star Wars (1977), screening publicly for the first time in decades in its original 1977 version,” BFI <a href="https://www.bfi.org.uk/news/bfi-film-film-festival-line-up-star-wars-twin-peaks">wrote</a> in the announcement.
The print is an “original, unfaded dye transfer IB Technicolor British release print of Star Wars (1977), preserved in the BFI National Archive, and ready to transport us to a long time ago, and a galaxy far, far away, back to the moment in 1977 when George Lucas’s vision cast a spell on cinema audiences,” the organization wrote, adding that attendees can also “view material from the original continuity script for Star Wars, which includes rare on-set Polaroids, annotations and deleted scenes.” 
While some copies of the unaltered original do exist and have circulated for home use, Lucas has been adamant about only allowing the Special Edition to be seen in theaters. He discussed the subject during a 2004 <a href="https://www.today.com/popculture/lucas-talks-star-wars-trilogy-returns-wbna6011380">interview</a> with The Associated Press.
“The Special Edition, that’s the one I wanted out there. The other movie, it’s on VHS, if anybody wants it. I’m not going to spend the — we’re talking millions of dollars here — the money and the time to refurbish that, because to me, it doesn’t really exist anymore,” Lucas said at the time.  
“It’s like this is the movie I wanted it to be, and I’m sorry you saw a half-completed film and fell in love with it. But I want it to be the way I want it to be. I’m the one who has to take responsibility for it. I’m the one who has to have everybody throw rocks at me all the time, so at least if they’re going to throw rocks at me, they’re going to throw rocks at me for something I love rather than something I think is not very good, or at least something I think is not finished.”
Disney purchased the entire “Star Wars” franchise from Lucasfilm in 2012 for just over $4 billion. The last release, “Star Wars: Episode IX — The Rise of Skywalker,” made more than $1 billion despite lackluster critical reviews. Next up, Disney will try again with “The Mandalorian &amp; Grogu,” which is expected in May 2026.

Original ‘Star Wars’ Version George Lucas Banned Will Hit Screens For First Time In Decades

Original 'Star Wars' Version George Lucas Banned Will Hit Screens For First Time In Decades

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