George Lucas had developed Episodes VII, VIII and IX before selling Lucasfilm. Darth Maul, Leia's political rise and the Whills reveal a trilogy Disney never made.
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The Paramount-Warner deal turns antitrust into a contract: fewer competitors, but quotas, investment floors and penalties meant to imitate competition.
John Wilson wanted to make a documentary about concrete. The financing process turned the film into a study of how the industry tries to standardize originality.
Paul Schrader’s Non Compos Mentis shifts his familiar obsession with control from the solitary man to a wealthy family breaking under money, illness and desire.
Lightstorm Vision’s acquisition of Outsyders joins native stereoscopic capture with AI-assisted conversion, aiming to make 3D faster, cheaper and scalable.
With a Cliff Booth novel and a David Fincher film from his screenplay, Quentin Tarantino is separating authorship from the obligation to direct every version himself.
YouTube is moving from distribution platform to rule-maker: lobbying with streamers, entering TIFF and gaining new influence over how global culture is filtered.
Alex Gibney’s Musk documentary faces legal pressure while HBO’s ownership may change, turning the film’s subject—concentrated power—into a distribution problem.
The Last Photograph takes Zack Snyder away from green screens, franchise obligations and megabudgets, revealing how smaller production can restore directorial freedom.
AI could make another Paul Walker appearance technically possible in Fast Forever. The harder question is who has the right to authorize a new performance.
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