DarthDementous

Which is precisely the kind of thing you want to avoid at a charity event, since you want the children it's for to come away understanding that isn't the case in reality whatsoever. I suppose the way the featurette is framed makes this reasoning a bit too charitable (hah), but it's the only real takeaway I can have that makes reasonable sense to me, given what I mentioned earlier about implications that could easily arise from explaining the decision.

We'll have to wait and see, if it ends up being a story set after Davros' accident

It's not 'wheelchair = bad' it's that in fictional media (don't know why you're bringing up the paralympics) there is overwhelmingly disabled/disfigured characters as villains which sends a certain subliminal message

It is a very common trope for the disabled and disfigured to be villains and have part of the intimidation come from the otherness, I don't know why people are pretending like this was never a thing

It is a very common trope for the disabled and disfigured to be villains and have part of the intimidation come from the otherness, I don't know why people are pretending like this was never a thing

It is a very common trope for the disabled and disfigured to be villains and have part of the intimidation come from the otherness, I don't know why people are pretending like this was never a thing

It is a very common trope for the disabled and disfigured to be villains and have part of the intimidation come from the otherness, I don't know why people are pretending like this was never a thing

It's a small thermal exhaust port, a one in a jillion shot, Luke had to rely on the Force to make it but the Jedi were all thought to be extinct, they had turrets defending it... there's nothing to be explained there.

He finds enjoyment in critical appreciation, something more people should. 
 
 
So he evolved. 

People are jumping to a lot of bizarre conclusions. RTD can say what he likes, but let's wait to see how this manifests if at all
 
So far we have a depiction of Davros that is believably pre-accident in a minisode, if we see him again who knows what form that'll take?
 
Reasoning aside, I would be interested in seeing a different take on Davros as he's starting to become quite old hat by now, like The Master sans regeneration

I don’t trust the source cited in that article, but I’m sure he’s probably also correct in this case so whatever.
 
Lucasfilm has a case of mega analysis paralysis.  They need to hire people, let them make a movie, and release it.  Maybe it’ll be good, maybe it’ll be bad! Who cares!  It’s not like they aren’t releasing mid-quality stuff even after the backstage drama. You don’t have a micromanage every decision and squeeze out every creative partner until you end up with something right down the middle of the road.

It seems we've reached peak "spoiler" hysteria, where people break out into a frenzy if someone reveals not only plot points of a movie or show, but even minute and inconsequential details. It's almost become some kind of creepy weirdo cult-like phenomenon where people's enjoyment of media hinges on the element of surprise, as if they think every movie could potentially feature some ESB-type revelation, and if that surprise is no longer there, they don't want to watch it anymore. Isn't the experience of a movie more than just critical story points and turns?
 
This is perplexing to me because I find that my enjoyment levels significantly increase if I know more about the movie before seeing it. Much of the time I find movies difficult to follow, especially modern movies with their unnecessarily complex and convoluted narratives and technobabble exposition. So so-called spoilers help me follow it better. And if I find out someone dies, well I'm even more excited to see how it unfolds! But other people seem to go suicidal if they somehow find this out before seeing it - maybe I'm just out of touch with the fundamentals of geek culture!
 
And what even constitutes a "spoiler" these days? My narrow definition of the term is limited to things with big revelations like The Sixth Sense, where the whole intention was to trick the audience. But other people's definition seems so broad you'd think even the title was a spoiler! I'll never forget the the lead up to the relesse of TFA, a set photo of Mark Hamill in costume leaked online, leading a lot of people who saw it to cry in melodramatic despair because they thought seeing him in costume before they saw the movie destroyed the movie for them! How could something like this distress people so much? Isn't that what you'd expect Luke to be wearing anyway?
 
And another incident I recall on another forum back in 2000 was when some fan was in a state of panic because they read the cast list for AotC and saw the name of some inconsequential background character and was begging for reassurance that the movie hadn't been ruined for them. I ribbed this fella a bit and said he should calm down, but then a moderator scolded me saying "People getting spoiled is not funny, Drax."
 
It's getting a bit ridiculous that we can't talk about movies before other people see them. Loosen up! If you don't let it bother you, you might even become immune to this rigid spoiler cult.

It's The Ludovico Technique, in action.
Maybe people have just had enough of endless mass destruction, casual violence, empty and meaningless spectacle, two-dimensional characters, and being force-fed the same dross for 15 years. They desperately want something else. They want Fillet Mignon, but they've had so many Big Macs shoved down their throats, they wouldn't know what a Fillet Mignon is, let alone how it tastes.
I look forward to 20 years' time, when audiences, critics, and social commentators look back at the MCU, the DCEU, and what The Mouse has done to Star Wars and Indiana Jones, and think "What the fucking hell was that all about??!!!".

Shin Godzilla's OST was a real banger. My favorite Godzilla score in years. This sounds interesting so far but not sure it can match Sagisu's level of operatic epicness.

I read that the issue was that rather that re-record them outright they tried to 'remaster into stereo' the original cues from their subsequent films, and they clearly weren't successful with that (except maybe Godzilla Appears from Godzilla Vs Mechagodzilla). The film itself just used the original recordings untouched. So, yeah: it's really nice that they appeared, but as a listening experience it is a bit jarring to transition from the more modern stereo recordings to those old mono recordings and back again.

There's something very wholesome about such a faithful new arrangement of the classic themes. It was neat that Shin Godzilla used the exact tracks but it was also a bit jarring with the mixing of the other pieces of the score

I enjoy the apocalyptic and gloomy feel of the soundtrack excerpts, Pray in particular reminded me of a Shiro Sagisu track from Thrice Upon A Time

This came up to me on Reddit. How accurate is it?
 
Source

I'm rather disappointed by that second season
 
Episode 1 was a complete filler. The two only really good thing are the introduction of Ke Huy Quan and Holt's music. The cinematography is pretty ugly, there's a lot of awful shots, a couple of messed up CGI leading in pretty bad directed episode IMO. The plot is very thin, only delaying the beginning of the actual story of one episode. You don't really get Hiddleston and Wilson together which was one of the best thing of the first season
 
Episode 2 was a bit the same (slightly better) with no awful shots this time. The cinematography is still ugly (I know it will stay the same for the rest of the show but I can't stand it). The plot was poorly paced, not really starting at the end of episode 1 with a giant ellipse that should have been covered in an actual first episode. Sylvie becomes quite annoying which is a bit sad IMO. The end of the episode comes a bit out of nowhere with a poorly staged action scene, ruining once more the pace of the episode. Holt's music is still great though and it was nice to have some fun interactions between Mobius and Loki.
 
Episode 3. Another not really interesting episode, even though the main idea was terrific, the writing of the dialogue was quite redundant and poor. Sylvie's becoming even more annoying. Mobius and Loki almost do nothing together again (a shame). Majors performance is okay but the stuttering gets a little irritating when you're viewing the same dialogues second time. On the good side we have still Holt's music, great sets and costumes (but still the awful cinematography ruining them)

No, I don't think that's right.
 
As with everything in life - but particularly with art - you don't look at what the artist say, you look at what they do. So, rather than using what George Lucas said about Star Wars, you look at the films themselves for what they are.
 
Lucas is hardly the first filmmaker to try and present his work in a light that's incongruent with the way it plays to audiences, but he's probably the most tendentious.

I think retroactively my favorite era of Star Wars is probably like 1993-2013. 
 
All the best videogames, The Clone Wars, awesome behind the scenes content and documentaries, Star Wars Hyperspace, the DVD and Blu-ray releases, the beginnings of LEGO Star Wars

Yup. 10th Anniversary of Star Wars. Rick Overton was the opening act. Threepio, Artoo, and Darth Vader (voiced by Jones) introduced Lucas. (No idea if Daniels wore the suit.) The photo with The Great Bird gets all the press, but it's also when Lucas, Kershner, and Marquand shared the stage!
 
I got to meet Peter Mayhew, Anthony Daniels, and Billy Dee Williams. Which means I didn't go see Ralph McQuarrie, John Alvin, or any of the ILM guys that were there. I was young and stupid.
 
I REALLY need to scan my photos.
 
Oh, and there was a ginormous birthday card that was signed by everyone at the convention. It was reproduced in the Star Wars Vault book. Good news: My signature is there, and near the top! (Tall.) Bad news: I wrote how much I was looking forward to Episode I.

You haven't been watching Disney Wars then.

Filoni has officially lost me.  
 
He is deified by his fan base, as he was Lucas’ official protégée, but he really is overrated.  
 
There’s a wonderful drinking game to be made from Rebels episodes. You’d be drunk just on every time they steal a helmet and disguise themselves to infiltrate an imperial stronghold. 

It makes sense, on one level, that consuming Star Wars is not the key to creating good Star Wars. A good writer or director (of anything, really) should have a breadth of influences and a breadth of life experience. They should consume voraciously—film and literature and music and non-fiction (history and mythology and anthropology and popular science and mechanics)—and live voraciously—enjoying many kinds of activities in many kinds of outdoor environments, and in many countries, sampling the architecture and the cuisine and the social scene, etc.
 
But the corollary of that is that if your creative well is such a deep well, such a colorful kaleidoscope, that’s much different than consuming five ingredients and vomiting them right back up onto the Star Wars canvas to where the audience can pinpoint your exact five influences and feel smug that they “got it”—and that’s the whole exercise. Especially if those five things are all just nerd culture things.
 
The other corollary is that if your creative well is such a deep well, such a colorful kaleidoscope, then you have the capability to create something truly unique like George Lucas did in 1977—and in that case, doesn’t the Star Wars canvas really limit your creativity? The answer is yes. You should go forth and make something new.
 
But if you are tasked with making new Star Wars (for love or for money), your job is NOT to innovate just because George innovated. The point of an imaginary universe is that you can imagine it as a coherent whole, hopefully without compartmentalizing each component. The more seamless the better. And that obviously involves an element of the ouroboros—themes and scenes and lore which feel like reflections or inverses or outgrowths of themes and scenes and lore that we have seen before.

bold claim that the Filoni stuff worked, let alone "works best"

I think the world needs less stuff made in someone else's sandbox, and more original stories. Star Wars worked because it was new and exciting and a unique vision, however derivative of its sources. Same with Lord of the Rings and Harry Potter. The problem is, that is a hard thing to do, and only comes along every few years or decades, and the corporate money machine has no patience, so they slap it on a plastic lunch box, and they sell it. And because we require Input, Stephanie, and keep wanting that high from our first experience, we keep coming back. I'm going through the Clone Wars multi-media project right now for the very same reasons.
 
I love Star Wars. No piece of pop art has had a larger influence on my life, and I'd love to enjoy what is coming out right now, but yes, Disney Wars have become far to referential and insular and bland, and I think Filoni's track record has been decreasing in quality and originality since Clone Wars to the point where it makes me wonder just how much he had to do with the parts of that series I liked. This is a long way of saying I miss George, but I also believe that stories can and should end. Nothing needs to go on forever.