According to Wikipedia Star Wars had no major influence on Firefly, so it seems some version of it could still exist and maybe with more than one season.
A Hippie in the House of Mouse (Jim Henson at Disney, 1980)
- Thread starter Geekhis Khan
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Maybe PFN will be more kind to it ITTL and not attract the ire of fans.
Then again, a successful Firefly could give Whedon a bigger ego and make his own OTL exploits way worse....
I would be a little disappointed if Star Wars died a ignomious death, as I've really enjoyed what you've done with the franchise (and Lucasfilm in general) in the TL. I would honestly be fine with an even worse perceived film than episode one, just for the interest and new dynamics it could bring to the TL.
While I know blood can run hot on Star Wars I think most people have been fine about it in this thread (really the big surprise to me was the Doctor Who fans!) and I am legitimately curious to what your plans for the future of the franchise would be @Geekhis Khan , especially now as Lucas' circle of collaborators includes Lisa Henson.
While I know blood can run hot on Star Wars I think most people have been fine about it in this thread (really the big surprise to me was the Doctor Who fans!) and I am legitimately curious to what your plans for the future of the franchise would be @Geekhis Khan , especially now as Lucas' circle of collaborators includes Lisa Henson.
Miramax being picked up by Hollywood makes all the sense in the world. ABC Hollywood is pretty much all the divergent stuff from Walt Disney coalescing into one company after all. 
Which has me wondering if DreamWorks isn't going to launch as a way of keeping both Eisner and Katzenberg happy, with both reporting to ABC executives...?
Which has me wondering if DreamWorks isn't going to launch as a way of keeping both Eisner and Katzenberg happy, with both reporting to ABC executives...?
I'd really like to see an earlier version of The Mandalorian ITTL.
It would probably be something related to Boba Fett during his early years.
I'm vaguely aware that Lucas had wanted to make a Live-Action Star Wars show for years, but he couldn't justify it because of the costs. An interesting possibility if Geekhis goes in the direction of Sequels first, would be a prequel TV series that kind of smushes Lucas' original ideas for the prequels (what would eventually become Episode 1,2 &3) with the Clone Wars, which as far as I'm aware is the only TV production Lucas was ever involved in (although it was animated).
Then again, a lot of his ideas for the prequels could bleed into a theoretical sequel series - especially the condemnation of mega corporations and the banks.
There are a lot of interesting directions Star Wars could go!
PNWKing
Banned
There's one letter of LGBT that Henson hasn't embraced yet, and that is the final one. I wonder why not, and heck there's already a pre-built icon for that community in Disney's vast library. Produced by Walt himself. The 1937 short of Ferdinand The Bull, adapted from the picture book by Munro Leaf. Surely, some say it was about pacifism, but some could read the book as having a gender non-conforming hero.
I can see a sequel to that short paired up with the original predecessor in an episode of the anthology series, but I'm not sure how else you can do that if at all.
Maybe even add the ending to The Three Caballeros with Donald in a bull costume as a nice garnish while we're at it.
Star Wars Underworld is most likely that production, right?
If that's the case, then I'm actually really interested if that gets brought to life ITTL as a show connecting the Prequels and the OT with a view from Coruscant/Had Abbadon.
Or "Little Disney", considering that her father is CCO at Disney.
I'm tempted to write those Star Wars pre/sequels for you, just to spare you the trouble and see how much I can infer and have people get the references. Let me know if you even want to go down that route.
I'm okay with this. She's already made herself a valued team member for Lucas' group so rising up the ranks to become a mirror of her dad's job wouldn't be out of place. She'd have certainly earned it.
I’m into Zelda and in a couple of TL things I did, Zelda movies have been a thing, so might be of some help
That seems a little more convoluted than just directly telling the story... but I could see elements like that being incorporated into really any Star Wars TV show Lucas does.
On the other hand I can't actually think of any George Lucas project that actually has a flashback in it so it might just not be a technique he likes using.
Y'allywoodland
Chapter 24: A Peach of a Location
From Theme Park Confidential: The Corporate Machinations and Machiavellian Intrigue behind your Favorite Parks, by E. Z. Ryder
The announcement of Warner Brothers Movie World just to the west of his home and headquarters in Atlanta, Georgia, sent Columbia Entertainment CEO Ted Turner into a bit of a tizzy. Not only was the old Six Flags theme park getting a Disneyesque upgrade into an “immersive user experience”, but they were building a new Warner Studios East complex as a competitor for the new Universal Studios Florida just to the south in Orlando. With both studios threatening to pull talent and visitors from Columbia, Turner set out to create his own southeastern studio complex.
The development of new studios in Atlanta made economic as well as strategic sense. The lower cost of living combined with the generous incentives that the Georgia State and Atlanta City governments were willing to provide made the expansion a no-brainer in his mind. It also appealed to Turner at a visceral, regionalist level, a chance to bring the fortune and glory of Hollywood to his beloved Georgia. For the location of the new studios and park he set up shop at a crossroads near the small community of Rockbridge to the east of Atlanta in the shadow of Stone Mountain. This was a place filled with golf courses and other local attractions with plenty of infrastructure support and room for growth. Though the hilly ground would complicate construction, enough flat space was available or could be made available with construction equipment to house the studio lots.
Part of the chosen land was occupied by a peach orchard, so Turner named the new facilities Columbia Peach Grove Studios and quietly angled among the local developers and landowners to have the region dubbed “Peachwood” or possibly “Palmettowood”, a branding effort that rival Warner Brothers also supported. Despite his best efforts, however, the people of Georgia and the entertainment industry both independently came up with the name “Y’allywood”, which has stuck to this day.
Ground was broken on Peach Grove Studios in the spring of 1990. In addition to active studios and sets, and guided tours of them, the Studios would feature the chance to sit in on a live studio audience, some shopping and dining options, and even a few rides and attractions based on Hanna-Barbera IP and purchased back from Kings Entertainment Company, who’d retained the theme park rights to Hanna-Barbera since 1984 when it split off from Taft. Plans were to expand the theme park side into a full-fledged “second gate” in the future.
The announcement of Columbia Peach Grove Studios sent shockwaves through the industry, with Warner Brothers and Universal feeling particularly threatened. Warner now had a direct competitor in Atlanta, a market that up to that point they had cornered. Universal Studios, Florida, was already facing opening week jitters due in part to the recession and due in part to an opening day hiccup on par with Disneyland’s infamous Black Sunday of old.
Now they had additional regional competition. Disney President Frank Wells and the Disney board again considered a Disney-MGM Studios East, but with continuing challenges with Disneyland Valencia, whose opening day was coming soon, ongoing costs for Port Disney and DisneySea, and with the recession taking a bite from park revenues across the board, it hardly seemed the opportune time to launch a third gate at Disney World, particularly into the face of direct competition.
With Warner now facing a direct challenge in the east, C.V. Wood put on hold plans to retrofit the Dallas Six Flags into another Warner Movie World in order to accelerate development of the Atlanta Park, determined to stay one step ahead of Columbia. It would be the beginning of a fierce crosstown rivalry between Warner and Columbia that would spill over into other areas. Universal was already scrambling to get all of the attractions at the Florida studios up and running, but none the less sought to expand and accelerate their development, fearing loss not just to Disney World, but to the Atlanta Parks.
And yet the issues went further: the governments of Orlando and Florida feared that the massive expansion in entertainment options in Atlanta, a city that often served as an air hub for flights coming to Orlando, would pull tourists from Orlando to Atlanta. They responded by planning an airport expansion, making incentive deals with air carriers to add more direct flights to Orlando, and expanding on existing incentives for studios, parks, and hotels to help combat tourism loss to Georgia, be it real or imagined.
Suddenly what started as Ted Turner’s gut reaction to Warner’s expansion had blown up into a regional metropolitan rivalry! It would result in not only economic effects, but in political ones as well.
From Theme Park Confidential: The Corporate Machinations and Machiavellian Intrigue behind your Favorite Parks, by E. Z. Ryder
The announcement of Warner Brothers Movie World just to the west of his home and headquarters in Atlanta, Georgia, sent Columbia Entertainment CEO Ted Turner into a bit of a tizzy. Not only was the old Six Flags theme park getting a Disneyesque upgrade into an “immersive user experience”, but they were building a new Warner Studios East complex as a competitor for the new Universal Studios Florida just to the south in Orlando. With both studios threatening to pull talent and visitors from Columbia, Turner set out to create his own southeastern studio complex.
The development of new studios in Atlanta made economic as well as strategic sense. The lower cost of living combined with the generous incentives that the Georgia State and Atlanta City governments were willing to provide made the expansion a no-brainer in his mind. It also appealed to Turner at a visceral, regionalist level, a chance to bring the fortune and glory of Hollywood to his beloved Georgia. For the location of the new studios and park he set up shop at a crossroads near the small community of Rockbridge to the east of Atlanta in the shadow of Stone Mountain. This was a place filled with golf courses and other local attractions with plenty of infrastructure support and room for growth. Though the hilly ground would complicate construction, enough flat space was available or could be made available with construction equipment to house the studio lots.
Part of the chosen land was occupied by a peach orchard, so Turner named the new facilities Columbia Peach Grove Studios and quietly angled among the local developers and landowners to have the region dubbed “Peachwood” or possibly “Palmettowood”, a branding effort that rival Warner Brothers also supported. Despite his best efforts, however, the people of Georgia and the entertainment industry both independently came up with the name “Y’allywood”, which has stuck to this day.
Ground was broken on Peach Grove Studios in the spring of 1990. In addition to active studios and sets, and guided tours of them, the Studios would feature the chance to sit in on a live studio audience, some shopping and dining options, and even a few rides and attractions based on Hanna-Barbera IP and purchased back from Kings Entertainment Company, who’d retained the theme park rights to Hanna-Barbera since 1984 when it split off from Taft. Plans were to expand the theme park side into a full-fledged “second gate” in the future.
The announcement of Columbia Peach Grove Studios sent shockwaves through the industry, with Warner Brothers and Universal feeling particularly threatened. Warner now had a direct competitor in Atlanta, a market that up to that point they had cornered. Universal Studios, Florida, was already facing opening week jitters due in part to the recession and due in part to an opening day hiccup on par with Disneyland’s infamous Black Sunday of old.
Now they had additional regional competition. Disney President Frank Wells and the Disney board again considered a Disney-MGM Studios East, but with continuing challenges with Disneyland Valencia, whose opening day was coming soon, ongoing costs for Port Disney and DisneySea, and with the recession taking a bite from park revenues across the board, it hardly seemed the opportune time to launch a third gate at Disney World, particularly into the face of direct competition.
With Warner now facing a direct challenge in the east, C.V. Wood put on hold plans to retrofit the Dallas Six Flags into another Warner Movie World in order to accelerate development of the Atlanta Park, determined to stay one step ahead of Columbia. It would be the beginning of a fierce crosstown rivalry between Warner and Columbia that would spill over into other areas. Universal was already scrambling to get all of the attractions at the Florida studios up and running, but none the less sought to expand and accelerate their development, fearing loss not just to Disney World, but to the Atlanta Parks.
And yet the issues went further: the governments of Orlando and Florida feared that the massive expansion in entertainment options in Atlanta, a city that often served as an air hub for flights coming to Orlando, would pull tourists from Orlando to Atlanta. They responded by planning an airport expansion, making incentive deals with air carriers to add more direct flights to Orlando, and expanding on existing incentives for studios, parks, and hotels to help combat tourism loss to Georgia, be it real or imagined.
Suddenly what started as Ted Turner’s gut reaction to Warner’s expansion had blown up into a regional metropolitan rivalry! It would result in not only economic effects, but in political ones as well.
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