Culture Willow’ Showrunner Clarifies That the Disney+ Series Isn’t Actually Cancelled

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Willow’ Showrunner Clarifies That the Disney+ Series Isn’t Actually Cancelled​


Willow” fans got some disappointing news this week when it was widely reported that the Disney+ series (a sequel to Ron Howard and George Lucas’ 1988 film of the same name), had been cancelled after one season.

The news hardly seemed surprising, given that every streaming service is dealing with budget cuts and Disney is in the midst of a leadership overhaul. But as it turns out, the initial reporting may not have told the whole story.

Jon Kasdan, who created the series and served as showrunner for Season 1, released a statement on his personal Twitter account to contextualize the reports that the show was cancelled. Kasdan explained that the uncertain landscape in the streaming industry will significantly delay production on the show, but it has not been formally axed.

“A decision was made last week to release our main cast for other series opportunities that may arise for them in the coming year,” Kasdan wrote. “With all the TV and movies in production around the world, it feels unfair to limit an actor’s availability without a clear sense of when you’re going to need them again. It’s further triviliased by the simple reality that the scripts we’ve been working on require just as many actors with whom no such contractual hold exists.”

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He went on to say that, while there are no firm plans to resume production soon, Disney has still tasked him and his creative team with planning a second season.

“If you’re asking what this means for you as a viewer, or me as the creator, here’s what I think it means: Due to forces much larger and more intricate than I would ever pretend to fully understand production of streaming shows is slowing down across the entire industry, and ‘Willow’ won’t resume filming in the next 12 months,” he wrote. “But here’s what’s equally true: with the enthusiastic and unwavering support of Lucasfilm, and Disney, we’ve developed and written what we hope is a brain-meltingly fun, richer, darker and better VOLUME II, which builds on the characters and story of our first eight chapters (The Wyrm survives!)”

Of course, it’s fairly common for studios to order scripts that never make it to production — so the situation that Kasdan outlined is not exactly a guarantee that Season 2 is on the way. But for the moment, “Willow” fans can take solace in the fact that the dream of another season is not entirely dead.
 
I assume Disney analyzes their viewer data to figure out what to produce similar to what Netflix has suggested they do.
I have a feeling they are fundamentally crippled in how they crunch the numbers, the technology has gotten so good these days that they can actually see the very instant people "tune out" of a program (stop watching). They should be able to tell instantly what programing changes are welcome and which aren't.

They should be able to connect the dots and see that the 90% audience loss at the VERY moment the black, gay, (but somehow also nonbinary) princess comes onto the screen and lectures the dragon about male priveleage while kicking it's ass is proof none of those things are what people want to see.

But they won't do it. They can't admit their meddling is to blame.

Again and again they have ignored this data and tried to implement the usual wokeness anyway for the sake of ESG.

My guess is some c-level suit looking for IPs to mine somehow heard that there was an 80's cult classic fantasy they could remake, and the prospect of overloading it with lesbians and minorities just proved too strong to actually look at the numbers and realize no one younger than 35 remembers it and those who DO will object to reducing high fantasy to "an update for modern audiences!" more concerned about strong women falling in love with each other than actual adventuring.

The best most accurate metrics and most meticulous market research mean nothing if the people in the board rooms just look at them and say "That wasn't real communism" "Those aren't our REAL viewers" and ruin it anyway.
 
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I'm not saying it's because they cast this weird mutt that the show was cancelled, but casting someone like Erin Kellyman in a lead role is a good sign a show will be a fucking disaster:

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The only ginger Hollywood doesn’t hate.
 
Midgets are fucking gross and I don't want to look at them

That said, they're literally giving the same excuse the showrunners for the from dusk till dawn and hannibal series did when they got cancelled. Only with them it was more of a 'in between networks' and 'the cast has been released from their contracts but we're not cancelled'

Its just bs to cover the fact they had shitty ratings and don't want to admit it
 
Willow was a forgettable, derivative, mediocre-at-best film, was released more than three decades ago, and was a critical and box office disappointment.

Let's take a 50-something Warwick Davis and try the proverbial definition of insanity!

Who was asking for this? Certainly not Willow's legions of fans. Who greenlit the project? Who okayed the funding? Who, at any level, could have possibly expected this to be successful?

The only possible explanation is some autist was obsessed with Willow as a kid and weaseled his way into Disney, then used his influence for a passion project of sorts. Or perhaps Warwick Davis has blackmail photos of Bob Iger with goats or something, I don't know.
It's much simpler. Willow is one of the very few Lucasfilm IP's that isn't Star Wars or Indiana Jones.

It's something Kathleen Kennedy could use to show busywork at Lucasfilms in order to continue hanging on to power as the Bob's kept trying to wall her off from fucking with things.
 
Isn't this the same cope Rian Johnson tried to pull when he claimed his star wars trilogy hadn't been cancelled even though we're now 5 years in with no filming being done?
There's been a lot of coping from shitty writers these days
 
Isn't this the same cope Rian Johnson tried to pull when he claimed his star wars trilogy hadn't been cancelled even though we're now 5 years in with no filming being done?
Why would they put him at the helm of an entire trilogy when his directorial stunts contributed to the half-baked writing in Episode 9, without the box office figures or ratings to legitimize his decisions?

Breaking Bad is allegedly a very good television series, but he was either a writer or a director for a smattering of episodes, and if The Last Jedi was something he could produce, I wonder how good his work was on Breaking Bad-- alternatively, I wonder how much work he did there.
 
Isn't this the same cope Rian Johnson tried to pull when he claimed his star wars trilogy hadn't been cancelled even though we're now 5 years in with no filming being done?
There's been a lot of coping from shitty writers these days
Technically Rian Johnsons trillogy was just formally taken out back and shot last week. Before that it was simply inactive. Iger took the axe to pretty much all of KK's announced but limbo projects this week and last. Yesterday saw the death of the Damon Lindelof Rei Skywalker/Baby Yoda abomination.
 
Let's take a 50-something Warwick Davis and try the proverbial definition of insanity!
I'd watch Warwick murder the people involved with this in Leprechaun (?) This Time It's Personal quite happily. He can do good work.
The only possible explanation is some autist was obsessed with Willow as a kid and weaseled his way into Disney, then used his influence for a passion project of sorts. Or perhaps Warwick Davis has blackmail photos of Bob Iger with goats or something, I don't know.
Honestly that's how I felt when I found out that they were concluding Mysterious Cities of Gold. In contrast Willow feels like generic Disney slop that they would churn out because they can hit their diversity requirements and not enough people care but enough know it exists where it will get interest.
 
I'd watch Warwick murder the people involved with this in Leprechaun (?) This Time It's Personal quite happily. He can do good work.

Honestly that's how I felt when I found out that they were concluding Mysterious Cities of Gold. In contrast Willow feels like generic Disney slop that they would churn out because they can hit their diversity requirements and not enough people care but enough know it exists where it will get interest.
I love Warwick Davis. If the show had been focused on him it would have been a blast. If someone could find a good vehicle for him to go full on crotchety basturd it would be magnificent.
 
Why would they put him at the helm of an entire trilogy when his directorial stunts contributed to the half-baked writing in Episode 9, without the box office figures or ratings to legitimize his decisions?
He wasn’t a good director but JJ Abrams doomed the series with 7 by refusing to use Luke, leaving a ton of loose ends with no answers, and throwing out the entirety of the EU. It’d take someone much more talented than JJ or Rian to salvage the sequels after 7.
 
I have a feeling they are fundamentally crippled in how they crunch the numbers, the technology has gotten so good these days that they can actually see the very instant people "tune out" of a program (stop watching). They should be able to tell instantly what programing changes are welcome and which aren't.

They should be able to connect the dots and see that the 90% audience loss at the VERY moment the black, gay, (but somehow also nonbinary) princess comes onto the screen and lectures the dragon about male priveleage while kicking it's ass is proof none of those things are what people want to see.

But they won't do it. They can't admit their meddling is to blame.

Again and again they have ignored this data and tried to implement the usual wokeness anyway for the sake of ESG.

My guess is some c-level suit looking for IPs to mine somehow heard that there was an 80's cult classic fantasy they could remake, and the prospect of overloading it with lesbians and minorities just proved too strong to actually look at the numbers and realize no one younger than 35 remembers it and those who DO will object to reducing high fantasy to "an update for modern audiences!" more concerned about strong women falling in love with each other than actual adventuring.

The best most accurate metrics and most meticulous market research mean nothing if the people in the board rooms just look at them and say "That wasn't real communism" "Those aren't our REAL viewers" and ruin it anyway.
Thinking of the entertainment ecology like it's banking: it's run by and for the same clique of insiders who are never punished for their mistakes, because in order to make it you need to have too many friends in high places for little things like ruining billion dollar IPs to affect your career trajectory. Everything is so diversified and leveraged that it's impossible to know what makes money and what doesn't, and every failure is backstopped by an external guarantor who makes sure nothing ever fails no matter what. In this completely consequence free environment they do whatever the fuck they want because why not?
 
It's hard enough to make a sequel series or a reboot of a popular series without shitting the bed. I suffered through enough of them as a kid (The Beverly Hillbillies sequel TV movie, the Gilligan's Island sequel TV movies, the Brady Bunch returns etc.) But taking these IPs and pressing them into service to shill for Globohomo just guarantees failure right off the bat. There's absolutely no reason gay characters have to be in ANY fucking thing aimed at kids, and the only reason producers put them there is to push for LGBT acceptance. It's just like how every show in the 80's had to have a token black kid in it to shill for the Civil Rights movement. The Rural Purge of the 1970s took popular shows off the air that appealed to White people and replaced them with "urban" shows that pushed Globohomo ideas and Diversity. You WILL like what the Big-nosed Hollywood producers are pushing because whaddaya gonna do? Make your OWN TV shows and movies? Good luck, when most entertainers, producers and artists have deep Clown World sensibilities.
 
It's hard enough to make a sequel series or a reboot of a popular series without shitting the bed. I suffered through enough of them as a kid (The Beverly Hillbillies sequel TV movie, the Gilligan's Island sequel TV movies, the Brady Bunch returns etc.) But taking these IPs and pressing them into service to shill for Globohomo just guarantees failure right off the bat. There's absolutely no reason gay characters have to be in ANY fucking thing aimed at kids, and the only reason producers put them there is to push for LGBT acceptance. It's just like how every show in the 80's had to have a token black kid in it to shill for the Civil Rights movement. The Rural Purge of the 1970s took popular shows off the air that appealed to White people and replaced them with "urban" shows that pushed Globohomo ideas and Diversity. You WILL like what the Big-nosed Hollywood producers are pushing because whaddaya gonna do? Make your OWN TV shows and movies? Good luck, when most entertainers, producers and artists have deep Clown World sensibilities.
Ironically, reboots of old franchises used to be so rare as to be self-advertising to a degree when they happened.

"What? They're making new episodes of Supertrain? Well, I guess I should at least watch one or two to see if they're any good....."

Now the script's so inverted, it's ALL sequels, ALL reimaginings, ALL reboots for "modern audiences", to the point a movie (and a bad one at that) about a bear high on cocaine actually took #3 at the box office that week because people are just that intrigued by something new.

Everything is so diversified and leveraged that it's impossible to know what makes money and what doesn't,

I disagree they don't know this stuff doesn't make money on ticket/subscription/ad/merch sales - they're well aware of it. Like I said above, they've just chosen to (deliberately at this point) ignore the metrics that show it for one or two cherry-picked instances that "prove" they did the right thing:

"America is hooked! More people watched Willow last night than climbed an actual willow tree!"

What I'm amazed at is how long the powers that be financing it were willing to eat the losses, convinced that somehow, the diversity model would prevail. That eventually, they'd somehow make things so into the negative, push the line so far down, it'd wrap around the graph and appear at the top in the "unbelievable profit" part. Had their banks not crashed and the tech sector not nosedived, they'd have continued down this path until they all died of old age.
 
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