![]() “There is a general ‘blah-ness’ to the films we produce,” one Sony employee said in an email, later revealed in the 2014 Sony hack. Sony had been home to Sandler’s Happy Madison Pictures for more than a decade, and the comedian had been one of Hollywood’s most consistent box office stars, rewarded with at least $20 million a movie.īehind the scenes, though, many at Sony were worrying that the star-driven formula they had long relied upon was no longer working. What was new, for Sandler and Sony, was that audiences seemed to agree with the critics, as the $70 million movie grossed just $58 million worldwide. “Even with 87.5 years to go, the 21st century may never see a stupider comedy than That’s My Boy,” critic Michael Phillips wrote in the Chicago Tribune. On Father’s Day weekend 2012, Sony Pictures released That’s My Boy, a raunchy, R-rated comedy starring Adam Sandler as an over-the-hill partier who had fathered a son (Andy Samberg) at age 13 with his middle-school teacher Vanilla Ice had a supporting role. chairman Alan Horn, who had overseen IP-driven hits like the Harry Potter films and The Dark Knight and was well suited to Disney’s next stage.Īs Disney’s team was quietly crunching the numbers on Lucasfilm, another shift was underway across town in Culver City. On the heels of its big-budget flop John Carter, Disney replaced film executive Rich Ross with former Warner Bros. He allowed a small team from Disney to begin analyzing Lucasfilm’s financials to arrive at a valuation. Baby Yoda is the character in the story who tells us exactly how we got here and where we’re heading next.īy early 2012, Lucas had begun to think seriously about Iger’s question, having considered how Disney had handled its acquisitions of Pixar, for $7.4 billion in 2006, and Marvel, for $4.24 billion in 2009. That show is the result of the same dynamics that gave the world Grumpy Cat and Beyoncé’s secret album drops and made Reed Hastings’ DVD-by-mail company grow huge and a titan like Rupert Murdoch feel small. “We didn’t know until we were told, but we were fitting into the corporate strategy,” says Mandalorian creator Jon Favreau. Baby Yoda is the decline of the movie star and the ascendance of IP, the rise of cord-cutting and the escalation of the so-called streaming wars, the dominance of web culture and the technological leaps in CGI … all tucked into one adorable little package. ![]() Baby Yoda may offer viewers a sweet respite from the world, a Dalai Lama in toddler form, but for Hollywood, Baby Yoda is the very embodiment of its modern reality, of all the forces that have shaped the galaxies of entertainment over the past decade and will likely mold it into the next decade and beyond.
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