Ahh, well that makes some sense. It's just kind of weird how they found the plans for Hyperspace tracking moments before Vader's Destroyer immediately found the Tantive IV.

And the idea of a tracker is becoming an overused plot device in Star Wars. We can block advertising on the web and find viruses in our computers while our cars can almost drive themselves but people capable of creating starships that are faster than lightspeed can't detect a tracker on its hull?

Between those issues and Obi Wan's outright lies about R2D2, C3PO and Anakin really messed everything up, IMO. Then, add the fact that Owen Lars doesn't instantly recognize C3PO, when he was their droid for at least 10 years, which is extremely odd as well.

I'll be curious to see how many changes are made to the OT once Andor and the Obi Wan series air.

As I've said before, Solo is really the only Star Wars movie that captures the fun, swashbuckling feel of the original. I loved it. Outside of the original three, the only ones I'll ever bother to watch again are Solo and Rogue One.

The end of ROTS always bothered me, it makes no sense but everybody accepted it because it moved all the pieces to place for ANH.

They act like it's a plan, but the plan is like, let's hide Luke on Anakin's home planet, living with Anakin's family, and make no attempt to conceal his identity. No attempt will be made to train Luke or Leia in the force. Obi-Wan and Yoda will go into hiding for no apparent reason. And we'll all just wait around for something to happen. To me, Owen not recognizing C3PO is one of the easier things to explain away, since protocol droids look the same.

I assume the Obi-Wan series will fix and/or explain some of it, but still. George really should have thought this stuff out when he started working on the prequels.

We saw this arrogance in GOT season 8 too. We have a huge built in audience, going to make a huge pile of money guaranteed, why give our best effort? We don't have to get all the details of the story arc ironed out before filming.

Complete lack of respect for the fans and their passion for the story and the characters.

At least those GoT ****ers are paying the price for it. They're so toxic now I doubt if they could get a gig producing an infomercial.

I don't know how Jar Jar Abrams still gets work. I wouldn't let that one who sucks the penis wash my car.

Life was different in the 90s. Internet didn’t exist to have these kinds of discussions.

Hilariously D&D ****ed off GOT to go do....Star Wars.

Don't do this to yourself, man.

Yeah, nobody needed an explanation for why the Star Destroyer was there at the beginning of ANH in 1977.

If Rogue One introduced a pre-existing element into the story 40 years later, that's not a plot hole.

The director probably listened to the star wars radio drama anyway :D (the drama is awesome, it actually covers Vader tracking Leia all the way from another planet first, then when the Devastator finally catches up to her the talk about there being a spy on board).

<blockquote class="twitter-tweet"><p lang="en" dir="ltr">This. Is. The. Way.��<a href="https://twitter.com/hashtag/freakingout?src=hash&amp;ref_src=twsrc%5Etfw">#freakingout</a> <a href="https://t.co/ui3cpF6N7j">https://t.co/ui3cpF6N7j</a></p>&mdash; Ming-Na Wen (@MingNa) <a href="https://twitter.com/MingNa/status/1403059082018361356?ref_src=twsrc%5Etfw">June 10, 2021</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

<blockquote class="twitter-tweet"><p lang="en" dir="ltr">&#39;Star Wars: <a href="https://twitter.com/hashtag/Andor?src=hash&amp;ref_src=twsrc%5Etfw">#Andor</a>&#39; - Forest Whitaker to Reprise His Role of Saw Gerrera From &#39;Rogue One&#39; - <a href="https://twitter.com/hashtag/ForestWhitaker?src=hash&amp;ref_src=twsrc%5Etfw">#ForestWhitaker</a> <a href="https://twitter.com/hashtag/StarWars?src=hash&amp;ref_src=twsrc%5Etfw">#StarWars</a> - <a href="https://t.co/TohjuFpOzk">https://t.co/TohjuFpOzk</a> <a href="https://t.co/tqgbus2R8O">pic.twitter.com/tqgbus2R8O</a></p>&mdash; SWNN (@StarWarsNewsNet) <a href="https://twitter.com/StarWarsNewsNet/status/1403045630675755013?ref_src=twsrc%5Etfw">June 10, 2021</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

There's a 30 minute video interview and the full transcript with Ewan and Pedro at the link.

https://variety.com/2021/tv/actors/a...on-1234991717/

The Stars of ‘Star Wars’ Join Forces: Pedro Pascal and Ewan McGregor Share Secrets Behind ‘The Mandalorian’ and ‘Halston’

Ewan McGregor: I just came directly from our set on the “Kenobi” series, and I’m working with so many of your crew from “The Mandalorian.” In fact, Deborah Chow is directing all of our series, and I know she directed episodes of your first season. I’m having such an amazing time down there with that incredible technology, and not being in front of too much green screen and blue screen.

Pedro Pascal: It’s unbelievable, isn’t it? You would think that you would have to really invent all of it in your mind, but more than any set I’ve ever been on, it’s there and meticulously created in the production design. It’s like being on an amusement park ride.

McGregor: I did the first three films in the late ’90s and into the 2000s, and by the time you did Episode 2 and 3, literally 90% of the scenes were just on green sets with green floors and green walls, or a blue set with blue sides and blue walls.

Pascal: It would be such a different experience with the same character that you were doing before — and then coming in and doing it with all this new technology.

McGregor: I like it. It’s like the beginning of Hollywood. It’s almost like when they had three-sided sets all in a row, and a bunch of guys with windup cameras, and you would just go from one stage to the other, one background to the other. Well, we’re doing sort of the same thing, except just the background changes instead of the stage. I’m excited about it because I feel like anything’s possible now. That you can invent stuff, interiors or exteriors that don’t exist in the real world, and put us into that environment. And also, you don’t have to fly ever. I mean, traveling has been great for the first 30 years of my career, but now I just want to stay at home. I just want to drive to work and drive home from work. I want a proper job.

<iframe width="560" height="315" src="https://www.youtube.com/embed/saimYtINzUs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>

Dude, it had absolutely nothing to do with arrogance and everything to do with spending 10 years of their lives on this series, which had become a never-ending journey, especially given that Martin decided that he needed decades to outline and complete the story.

AT&T's management was and has been compete and utter shit. They pressured those guys constantly because HBO was far, far behind in the Streaming Wars (and years later, still lag far behind Disney, Netflix, Amazon and are virtually tied with Hulu, which has 1/100th the original programming). They wouldn't allow them time off, because HBO had absolutely no other "Anchor" TV series and the grind just wore them down.

Running a show, even a small show, is like being a CEO of a company. There are constant challenges with personnel, salary disputes, delays, and of course, egos. When you're talking about a series with the scope of Game of Thrones, Wiess & Benioff were basically CEO's of a global corporation, with filming locations all over Europe, which comes with its own set of logistics, a team of accountants and finance people, not to mention the fact that they had to pull the story out of their asses because Martin failed to do his part, making it no surprise that the series ended up disappointing a large number of viewers.

The blame lies with AT&T.

Figures.

http://goodbysilverstein.com/public/...968baa5a49.jpg

I'M HORNEY

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https://scontent.fmkc1-1.fna.fbcdn.n...1a&oe=60CB03CA