Once again your research and plot creation astounds me @Geekhis Khan

I really like how you've leaned into "their slightly flawed understanding of Medieval Ring Theory" to create a lovely inverse to the original trilogy (something which I feel Lucas kind of gave up on after Episode I OTL).

It's interesting that Lucas' disinterest with this film allowed the other creators to slip in references to the broader post-Jedi extended universe (mainly with Athla Prime). I'm sure there's going to be a lot of happy fans with that inclusion! And I find it kind of funny that one of the driving focus of Lucas' dissatisfaction ttl is (misplaced) praise - a nice inverse to OTL.

It sounds like the actors are having a mixed time with the prequels, but at least they don't seem to be facing the near-universal hatred OTL's stars got. Also, Kannagh, what are you doing? Why are you jealous of the star power of a teen actor? I'm kind of worried about what that 'red meat' statement implies for the next film...

Ooof going from $1 billion to $600 million is going to hurt. But hey, at least this means Del toro's Hobbit might actually have a chance!
 
I wonder why other Jedi went with Mace to fight despite Mace being kicked out
The same way that some of the Jedi left with Revan to join him in order to defend the Republic.

I still think that Thorpe was Anakins father
God, I hope not.

With the Clones shown to be completely obedient I doubt any show wil have them develop personalities like otl
No, they will as otherwise they would be very dull. Actually, it would be more horrifying if they were human-like since there's no chip and their actions to kill the Jedi would've been of their free will (or something resembling that) as was explained in Legends.

It's very depressing to see George Lucas like this, but in general, everyone is not feeling well due to fan pressure and misattributed rumors causing a lot of harm. I'm curious to see how Episode III fares in theaters as I think the film would do better than OTL, which is really saying something since it was the best Prequel film.

Writer Frank Darabont also invented the idea of the “Ancients”, pre-Jedi force users who made no distinction between the Light and Dark sides of the Force, for Thorpe to attempt to emulate. Many fans took exception to this, as there had never been a prior hint of such beings in existing Star Wars lore, but such protean Force Users appealed to Lucas’ evolving concept of balance in the Force and the galaxy’s long and arcane history. “The Ancient Ones discovered the Force, mastered the Force, and, essentially, broke the Force in their attempts to control it,” Lucas told Swords and Spaceships. “This recklessness fractured and unbalanced the Force, creating the Dark Side.” And this appeal to a misunderstood and romanticized past also fit well with the Fascistic nature of the coming Empire, given that appeals to a non-existent idealized past are one of the cornerstones of Fascist and other authoritarian right-wing movements. “Fascism pretends to look forward,” said Lucas, “while in reality it looks backwards.”
Writers at Lucasfilm are salivating over explaining the Ancient Force users like the Bendu or other sects. I honestly have so many ideas about how they'll influence characters like Revan or Kreia since they might have been exposed to their ancient texts while researching the truth about the Force. Not to mention the origin of the Jedi or even the Sith, which are not set in stone just yet (like the Hundred Years Darkness or the First Great Schism).

The Sequels could also dive heavily into the Ancients since the post-RoTJ did have Centerpoint Station and the Celestials which predate the Bendu. Maybe the Whills could also be in the mix as well.

But for the final film, and the most critical one since it would need to formally connect everything and set up the events of the Original Trilogy, director Ron Howard was begging Lucas to be more involved. “Don’t let the hate get to you, George,” he said. “We all love you here, and we need you to be a part of this.”

Thus, setting aside his hanging anger over the fandom, Lucas agreed to work much more intimately with the crew for the ultimate film in the prequel trilogy, a film whose events he’d drafted as background long ago in a world far, far away both culturally and technologically.

And finally, after decades, the Sith would have their Revenge.
Maybe the Multimedia Project would be a way to involve himself in the Clone Wars era since he was sidelined for Episode I and II. Having a full Clone Wars series done by Genndy would literally make my day.

It sounds like the actors are having a mixed time with the prequels, but at least they don't seem to be facing the near-universal hatred OTL's stars got. Also, Kannagh, what are you doing? Why are you jealous of the star power of a teen actor? I'm kind of worried about what that 'red meat' statement implies for the next film...
He's definitely going to cheat on his wife.
 
A point that is interesting to consider is the trade-off for having a more consistent and certainly better received prequel trilogy (For all the divisiveness, it is not a cultural punchline in the sense that OTL's are) is that the on-set relations are beginning to break down somewhat. Correct me if I'm wrong but most of the backlash from the OTL actors is from some of the dialogue they had to say or a general nastiness from the fandom in general, correct? There was no real problem with the cast themselves together, they all seemed to have enjoyed each other's company even if they had misgivings about the project. But here, the main trio of people is struggling to be on speaking terms right now, that's certainly shocking and given Branagh's likely issues with his marriage I imagine it would get worse.

It's not a critique, in truth I rather like it and it keeps the story interesting at the very least, but I figured it was worth mentioning.
 
A point that is interesting to consider is the trade-off for having a more consistent and certainly better received prequel trilogy (For all the divisiveness, it is not a cultural punchline in the sense that OTL's are) is that the on-set relations are beginning to break down somewhat. Correct me if I'm wrong but most of the backlash from the OTL actors is from some of the dialogue they had to say or a general nastiness from the fandom in general, correct? There was no real problem with the cast themselves together, they all seemed to have enjoyed each other's company even if they had misgivings about the project. But here, the main trio of people is struggling to be on speaking terms right now, that's certainly shocking and given Branagh's likely issues with his marriage I imagine it would get worse.
Honestly, their rocky relationship together is going to make something like a Star Wars: Kenobi series impossible to make ITTL (especially with Kenneth's infidelities). As much as I disliked the entire series, there was a real chemistry between Ewan and Hayden that I doubt will be emulated in the Hensonverse. It's a shame but it's something that I can live with since the Prequel Era as a whole is MUCH stronger and more consistent.

We can have another pair of actors that a relationship similar to Mat Lucas/Matt Lautner and James Arnold Taylor in the Clone Wars animated series that will most likely capture the fans' hearts as Anniken and Obi-Wan in the face of an Episode III fallout.
 
And there we go. Based on the fact that there are fewer "likes" than I often get, but that a higher percentage of them are "loves" than typical, I'm assuming that this is a "love it or hate it" post, which, frankly, mission accomplished to some degree. It's just not Star Wars without a divided fandom, so Verisimilitude Achieved. ;) Believe it or not, but this isn't my "fan wank" or what I wanted the prequels to be (I would have butterflied the Gungans/Roona entirely for one!), but my attempt to reframe Lucas's central Story (the rise, fall, and redemption of Anakin Skywalker) within the butterflies of the TL. Your mileage may vary on if I succeeded or not, but the fact that people are talking and debating is a good sign that people are thinking, which is what I really want.

Speaking of discussions, I'll answer some questions here, but let's try to take any future conversations to the Commentary and Speculation thread, please.

Impressive! Will you be doing episode three as well?
Already written.

It’s very pulpy that’s for sure.
Mission accomplished, then! Star Wars is pulpy and campy, and occasionally cheesy. Feature IMO, not a bug. In fact, George Lucas, upon first seeing the 3 K's Empire Strikes Back, complained that they made it "Too good" (his words). The incredible success of the original Star Wars, back when it was just "Star Wars" (a stand-alone salute to the pulpy old Flash Gordon serials of Lucas' childhood ), not "Episode IV: A New Hope", was in a large part because (and this is going to sound weird to modern audiences) it was fun.

Mind-blowing, huh? A fun adventure film. What a concept, eh? But in 1977 that was exactly the case. This was post-Watergate and post-Vietnam, in the middle of an energy crisis, a crime wave, the formation of the Rust Belt as factory jobs ended, and movies were in the midst of the "New Hollywood" movement, which dogmatically adhered to an "Auteur Theory" approach that also insisted that every film had to address serious topics in a naturalistic manner, ideally quoting Fellini in some way. Pretty much everything at the time was shades of grey, cynical, and jaded, nothing was pure and good, corruption was everywhere, optimism was delusion, the House Always Wins. The competing Sci-Fi film released that year, which everyone "knew" would win at the box office, Damnation Alley, was a cynical post-nuclear dystopia with killer mutant cockroaches. Even Jaws, a film about, um (checks notes) "giant shark eats people", had a subplot about a corrupt politician conspiring with the local business interests to cover up the fact that, well, giant shark eats people. Who cares if a few people get eaten, gotta have those tourist dollars!

Simply having a fun, fast-paced film with black & white morality, straightforward characters, heroes and villains without much nuance, cheesy dialog, lots of eye candy effects, and deliberate pulp and camp was a huge breath of fresh air in 1977, and audiences responded well to this.

And if Lucas had layered some deeper meaning in there about nature and spirituality vs. mechanistic militarism, then hey, great, but that's not what audiences in 1977 responded to, and lots of people in 1980 actually complained, often loudly, about ESB "ruining" Star Wars simply because it added some shades of grey and seriousness. ("This is depressing. The Bad Guys win? Where's my pulpy space opera?" "Vader is Luke's Father? What is this bullshit?")

Gee I wonder who will be directing this /S
Was your assumption right? Did you guess Zemeckis? If not, who did you assume directed, out of curiosity?

This article is a good summation of Lucas’s views and what he tried to convey


Basically the light side IS the way of balance, teaching that emotions can be good IF they’re properly controlled and guided. The dark side is “fuck restraint I’m gonna do what I want and damn the consequences.”

In fact the backstory of one dark sider in the EU (Kadann) is that he thought he could control both light and dark and ultimately fell. I think that might be a better thing for Thorpe….he arrogantly thought he could control both and fell.
Yep, fully, completely, 100% familiar with Lucas's thoughts on it (I've seen many interviews, read many behind-the-scenes accounts), well aware of the Canonical Jedi Philosophy, and also fully familiar with the Buddhist cosmology that informs it (though admittedly not an expert there). And unlike other things that Lucas has insisted after the fact to be "always part of the plan", I am willing to believe that this was indeed always the plan, seeing as how Lucas is a practicing Buddhist.

The concept of "attachment" in Jedi circles is clearly directly derived from the Buddhist concept of Upadana, translated (somewhat incorrectly) into English as "attachment". And that this central tenet of Buddhism is what drives Jedi Philosophy and the Force seems self-evident.


[Bad Dad Joke]

Q: What's the biggest problem with Buddhist vacuum cleaners?

A: They come with no attachments.

*rimshot*

[/Bad Dad Joke]

This, of course, reflects in the idea, in both Buddhism and Jedi Philosophy, that the Dark Side/Suffering is the Imbalance, not, as Thorpe seemed to think, the "balance", mistaking the Light and Dark for a Yin-Yang style Whole (as some Fans have incorrectly assumed).

And if Baron Thorpe's (for lack of better words) "Grey Jedi" philosophy, and his hubristic belief that he can control "both sides" of the force and that "balance" meant dominating both, flies completely in the face of the Canon, well, yeah, it does. That's the point.

How did his attempts to put this philosophy into practice work out for him?

The Kadann-style scenario you point out is explicitly what happens to Thorpe here: he hubristically thought that he could live in both balance (The Force) and imbalance (The Dark Side) at the same time. He looked up to some "Ancients" whom he assumed had mastered the "duality" when in fact they "broke the Force" in their arrogance, creating the Dark Side.

Now, how does this Buddhist-based philosophy translate into the story of the Skywalkers, iOTL and iTTL? The Jedi Philosophy is clearly portrayed as "right" and that Attachment is what holds a Jedi back from the Force and what leads to pain and suffering. In fact, the "sin" of the Jedi Council, which I make more explicit iTTL but which was very much implicit in OTL's PT (see OTL Qui-Gon's "rebellion" and devotion to "the Living Force" in contrast to the prescriptive way that the Council wanted him to behave), is that they too (ironically) suffer from one of the Four Big Attachments outlined by the Buddha, specifically "rites-and-rituals clinging" (silabbatupadana). This is portrayed iTTL by the arcane rituals and portrayed iOTL and iTTL by the dogmatic adherence to Rules and represented in the symbolism in both TLs of them being isolated in a literal Ivory Tower, disconnected from the Galaxy around them.

In fact, the Old Jedi, Obi-Wan and Yoda included (but apparently not OTL's Qui-Gon) were so blinded by the dogma that they confused Connection (good) for Attachment (bad). They saw Luke's love for and devotion to his friends and his compassion and hope for his father as Dangerous Attachments and tried to dissuade him from a) going to rescue his friends on Bespin and b) trying to save Vader/Anakin, insisting to Luke that he couldn't be saved and had to be destroyed. Had Luke listened to them, he would have failed. Instead, he ignored them, followed his intuition (the Living Force) and thus rescued his father by trusting in his friends, allowing his father to destroy Palpatine and restore balance to the Force.

In short, the Father is corrupted by his Attachment (possessive obsession and false-love) and redeemed by his Son's Connection (love, compassion).

Or at least that's how I have interpreted the central story of Lucas' 6-film saga iOTL and attempted to portray iTTL. In truth, he's said a lot of things over the years, and they often contradict one another, so who really knows?

If you’re not calling Sidious DARTH I think Lord Sidious is fine. The surname afterwards is kinda corny
I've already mentioned this, but I'll reiterate: "Darth" was originally a name, and (ironically given later attempts to claim it was a contraction of "Dark Lord of the Sith") one originally NOT assigned to the stated "Dark Lord of the Sith" [sic] in the first draft of "The Star Wars" (that would be Prince Valorem), but assigned instead to an imperial bureaucrat that the Sith Valorem kills in Act III. When Obi-Wan called Vader "Darth" in 1977 he was explicitly at the time calling an "old friend" by his first name, not a title, though later Intertextuality retroactively made it a title when Lucas changed his mind iOTL in the late 1990s.

When Star Wars was filmed, and as best as I can tell all the way up to the writing of Episode I (no EU or other materials that I can find use Darth as a title prior to 1999), "Darth" was always Vader's first name, originally his true name when he was a separate person from Father Skywalker and then later his "assumed name" when the two characters were combined in the Second Draft of Ep. V. But still, a name. Ep. I was also the first time that the name/title "Darth Sideous" appears. Prior to this he is always referred to either as "Emperor Palpatine" or "The Emperor" (or, originally, Cos Dashit). He doesn't even gain the first name "Sheev" until later in the post-PT EU.

And you're absolutely right about Sideous Morg's name being corny. From this point forward I'll stick to more dignified names like Dexter Jettster, Kit Fisto, and Count Dooku. :winkytongue:

Man, cheese, corn, camp, and pulp in Star Wars, what have I done?

Not gonna lie, I was a bit disappointed that the Clones are not the antagonists of the Clone Wars since that was kinda hinted at in the Thrawn Trilogy and/or Dark Empire (making it entirely different from OTL)
I debated taking things in a different direction, but truth be told I have no idea when Lucas came up with the Clones being the forerunners of the Storm Troopers, as that's one of those things buried deep in the Black Box. Perhaps it was part of his "12 9 3 6 9 Movie Plan" first devised in the late '70s after Star Wars broke box office records, and maybe not. Anyone's guess is as good as mine. I decided to be lazy and go OTL.

That said, my gut feeling is that Lucas went to the Droid Armies as antagonists and Clones as erstwhile allies of the Jedi in order to avoid having scenes of Jedi cutting down hundreds of living people. That would be an ugly visual and the MPAA may have been a factor.

The Bardo trial was a stroke of genius, IMO. It peers into Anniken's deepest and darkest thoughts/fears while clearly exposing the only thing that will cause him to fall: Padme. We saw hints of this in the third film and in the Clone Wars miniseries/animated series but never to this level of detail in the Prequel Trilogy.
I took the Buddhist nature of the Jedi a step further than OTL on that one, taking the Buddhist afterlife - well, interlife - concept of the Bardo, a sort of purgatory for attachment between lives, and formalized it.


Considering the Tales of the Jedi comics and future material, the Jedi have a lot of examples of why love and connections can ultimately cause one to fall, though they can also redeem a person as well.
Attachments (toxic clinging), to follow the Buddhist model, can ultimately lead us to fail, while Connection will redeem us.

I wonder if Dooku shared this same philosophy or if this is original to Thorpe. Regardless this is an interesting viewpoint of the Force that we rarely see others express IOTL.
IIRC by Canon Dooku became disgruntled with the Jedi Council following the death of his Padawan Qui-Gon, which he (frankly partially justifiably) blamed on the council, and this left him vulnerable to Sith manipulation.

I took Thorpe in the "grey Jedi" direction mostly as a contrast to the Canon of Dark Side as the corruption and imbalance in the Force, and as a counter to the common (and Jossed) Fan Theory that Anakin "restored balance to the force" by killing Jedi until there were an even 2 Sith, 2 Jedi. Here Thorpe clearly shows why this idea is wrong, that the Dark Side is not Yin to the Force's Yang, but corruption and imbalance that must be purged for balance to return. His hubris led directly to his fall as his Master (Palps) betrays him without remorse, likely knowing of his hubris and duplicity and even counting on it.

I'm not sure if it was intentional, but I love the reverse mirroring of Empire Strikes Back.
Yep, totally intentional. Playing around with the Star Wars Ring Theory, which means that Ep. II should mirror Ep. V in reverse, or more technically Ep. V should retroactively mirror Ep. II in reverse.

OTL Beauty and the Beast is an excellent example of a Chiastic Structure done right:

tumblr_inline_onhuaa75Ca1snv249_540.png

(Image from Kelly Quindlen on Tumbler)

I really like how you've leaned into "their slightly flawed understanding of Medieval Ring Theory" to create a lovely inverse to the original trilogy (something which I feel Lucas kind of gave up on after Episode I OTL).
While I've tried to actually use Ring/Chiastic Structure, I've done it deliberately a little bit "wrong." Admittedly, the more I look into the OTL PT the less I believe that Lucas was actually giving Star Wars a chiastic structure, or that if he was then he did it wrong. Ep. I would, if using a proper chiastic structure, reflect Ep. VI in reverse. So it would have started with the rise of a politician (Palps?) or other change of a government, then proceeded to a massive, multi-way battle possibly involving a force field while a force user dealt with a temptation, then maybe a big escape, then something involving the death or birth of a powerful Force Master, then something involving a remote planet and/or the Hutt and/or a rescue/capture of a friend. Instead iOTL Ep. I more directly reflects Ep. IV with some elements of Ep. VI in the same order while iTTL Ep. I reflects Ep VI directly, not in reverse.

I've often thought that, in response to critiques of how the Prequel Trilogy handled the Jedi Order, it's a phenomenally unfortunate and necessary rule of storytelling that of the 'thousand generations' Obi Wan talks about, it is inevitable that we have to follow the generations that failed. The nine-hundred and ninety-ninth if you want to get particular about it, the one's that could not help sowing their own downfall. The inevitable end result of being a Guardian of Peace and Justice in a system that has been in place so long it's starting to crumble out of entropy. How much of that is intended by Lucas and how much is a combination of fan-theory and Dave Filoni weaving in this narrative ion the small screen that inevitably became impossible to avoid in the present day is not something I really know. But here, there's definite meat to that theory.
I firmly believe looking at how the Jedi Council was portrayed iOTL's PT (and looking at Lucas's interviews) that the failure of the Jedi Council to live up to Obi-Wan's gushing words about the "more civilized time" was a Feature not a Bug. Fans were upset that the Jedi were flawed, but that was the point. Yoda and Obi-Wan, though noble at heart, were stuck in a wrong way of thinking, essentially caught up in a dogmatic view that Emotion/Desire = Attachment and thus seeing love/connection/friendship as something dangerous. And yes, Attachment (toxic clinging) is definitely dangerous to a Jedi and to be avoided, but it was precisely Luke's refusal to adhere to Yoda and Obi-Wan's warnings against acting on Love and Hope that won the day. And that's the direction I'm taking the TTL PT.

Of course Lucas has said a lot, and much of it contradictory, so I could certainly be wrong.

There's been a recurring theme of attachments and personal connections that's been more emphasized in this Prequel Trilogy than OTL with the Bardo Trial, Obi-Wan's personal struggles with intimacy, Anniken, and the Jedi Order itself. I noted that Obi-Wan and Anniken are kind of foils in this regard as Obi-Wan strives to sever his personal attachments to even his closest friends and enemies while Anniken revels in them by kissing Padme, finding joy in Thorpe's teachings as a mentor, obsessing over his father, and seeking vengeance against Mauk over Shmi's death. Yoda argues that these attachments are what cause people to fall into the Dark Side, and he seems to be proven right in Episode II with Anniken.
It's so ironic that Luke's personal attachment to Obi-Wan and his father is what ultimately saved him and led to his redemption. It shows that the Star Wars universe and the Force itself don't work in absolutes, and it's honestly a good thing.
Almost. Anakin/Anniken's "Attachment" (his possessive obsession with Padme, which he mistakes for love) led to his downfall. Luke's Connection (actual love and compassion) to his friends and father, is what saved him.

While I forget the exact nature of Episode VI IITL, I remember it being pretty clear that Luke brings his father back to the light somewhat. I imagine the argument of 'chronological vs real-life' airing arguments to be quite interesting because if you go by the latter you see Annikin deconstructing the nature of Luke's story-arc compared to the former which sees Luke reconstructing Annikin's ideals into a more sustainable method.
I always saw the intent of Lucas' Skywalker Saga OTL to be that the Jedi were born in nobility in the far ancient times, rightly working to purge themselves of Attachment, but that over the centuries they ironically became attached themselves to the Rite and Ritual and Dogma of the Jedi Rules, mistaking emotion and passion and love and connection for attachment. This made them unable to nurture Anakin through his internal challenges and steer him away from his self-destructive attachment, which led to his downfall and through him the fall of the Jedi and the Republic. Luke, meanwhile, saw through the Dogma and saw the true nature of Love and Friendship and Compassion not as dangerous Attachments, but liberating Connections, and this is why he was able to redeem Anakin, who brought balance back to the Force by purging Palpatine.

It wasn’t his attachment though. It was his compassion. He saw that Vader secretly hated himself and wanted to make amends, and wanted to help Vader not suffer.
Yep. Spot on. 100% agree.

I wonder why other Jedi went with Mace to fight despite Mace being kicked out
Palps both freed and reinstated him, and since the Jedi are nominally supposed to follow the will of the Republic, they went along with this, though some may grumble.

The same way that some of the Jedi left with Revan to join him in order to defend the Republic.
That too. Many Jedi saw Mace's move, however duplicitous, as prudent, and clearly the Galaxy needed that army, right?

Ooof going from $1 billion to $600 million is going to hurt.
Somehow I think that Fox and Lucasfilm will survive.

Can there be Jedi cops that exist between life and death and which also send you back in time?
Well, that would certainly open up a whole new dimension in SW Lore! Maybe something for the EU there.

Correct me if I'm wrong but most of the backlash from the OTL actors is from some of the dialogue they had to say or a general nastiness from the fandom in general, correct? There was no real problem with the cast themselves together, they all seemed to have enjoyed each other's company even if they had misgivings about the project.
That's what I've always heard. Ewan and Hayden and Natalie got along very well, from what I understand. Here, things are different.

there was a real chemistry between Ewan and Hayden that I doubt will be emulated in the Hensonverse. I
They say the best screen couples are those who really like each other, and those who despise each other. Jenifer Grey and Patrick Swayze apparently couldn't stand each other, but the resulting contempt ironically translated as real chemistry. Assuming thern Obi-Wan series, this may happen, assuming Branagh would go for it.



And again, all reminder to take any more discussions to the Commentary Thread. Really great questions and discussions, but we're coming close to a derail here.
 
Oh pulp has its place but I think that balance works best. Too much pulpy and it’s hard to take seriously and not enough pulpy and it’s a slog. The first movie is just right in that regard
 
What Could have Been...
Chapter 17, The Last Hurrah
Excerpt from Where Did I Go Right? (or: You’re No One in Hollywood Unless Someone Wants You Dead), by Bernie Brillstein (with Cheryl Henson)


In July of 1999 Jim invited me to a small screening room in his villa. I joined him for drinks and a film: The Dark Crystal. Jim had already been drinking, which was unusual, and was melancholy of mood, which was even more unusual. He was never a dweller.

“Remember this film, Bernie?” he asked.

“How the hell can I forget? It’s the one that changed everything!” It struck me. “Shit, that was tonight, wasn’t it?”

“Twenty years ago, Bernie,” he said. “To the day.”

I thought back to those crazy days of ‘79. It began over drinks. Mourning Eisner’s rejection of The Dark Crystal, the latest of a dozen such rejections for something that was just too far removed from Kermit and Piggy. I’d made a passing reference that night to him having his own studio. Suddenly we were tilting at the Disney windmill, leading us, ultimately, to Jim morosely revisiting his old movie in an isolated hilltop mansion in Beachwood Canyon where Chaplin himself once lived. It had been a grand adventure and a smashing success as far as I was concerned.

“Yea, quite a ride, but we did it!”

“Did we?” he asked, morosely.

I debated talking further about it, how we’d not only gotten The Dark Crystal made, but rescued Disney from corporate raiders and activist investors, kept Walt’s vision alive, and put a distinct Hensonian stamp on it all too, not that I’d ever say that last part out loud where a Disney could hear it. We’d overseen an epic growth period, revolutionized animation and effects, and, it’s worth saying, made Jim and his family billionaires.

Better Jim than some sociopathic asshole who’d spend it all bribing politicians into screwing over their own constituents, I dare say.

But after decades of knowing Jim, I knew to keep my fat yap shut at that moment. Still, it took a surprisingly dark turn.

“We fucked up, Bernie. We never should have done it. We never should have gone after Disney.”

I gave him a moment while he took a long pull from his drink. In all the decades that I’d known Jim, he’d maybe uttered a curse word in my presence four times. Perhaps five. Inevitably in jest. Either way, along with the drinking and the moroseness, it was unsettling.

As we sat in uncomfortable silence, I briefly recalled that first day in my office back in the ‘60s where I sat in utter amazement as this kid from DC brought felt to uncanny life. I thought about the career he’d had, from local TV to Ed Sullivan to Sesame Street to The Muppet Show to Disney. He’d managed to build an incredible entertainment empire out of essentially nothing but sweat and ambition, a true “self-made man”, unlike those corporate trust fund kids who leverage their parent’s connections. And all more-or-less starting with his mom’s old blue-green coat. In Piggy, he’d even built an actual silk purse from a sow’s ear.

He finally filled the silence.

“We could have gone to Lew, gotten the two-picture deal. Maybe helped bail him out from Holmes à Court rather than pursue Disney. Crystal would have done alright. ET would probably have killed us on A Muppet Mystery, or maybe Muppet Caper without Ron and Card pushing back on Cheryl’s name. Still, Labyrinth would have been a success. I could have my little studio, be getting my hands dirty every day, not dealing with corporate intrigues and boardroom squabbles. Living in a nice condo in Manhattan, or something, rather than this.” He held out his hands, referring to the mansion we sat in. “Hell, I could have sold the Muppets to Disney, let them be the caretakers. Used the cash to fund a limitless frontier for creativity.

“I could have salvaged things with Jane,” he added after a pregnant pause, making me wonder how much his brief meeting with his estranged wife Jane, who’d come to LA with her Nativity puppet show, had affected things. He’d certainly been a lot more introspective since. I wondered how aware he was of all of that.

I took a while putting together my answer in my head. He clearly wanted me to either support or reject this line of thought. “First off, Jim, you can’t know what would have happened. Holmes à Court would have probably screwed us in one way or another. Besides, you saved Disney from him. He’d have broken it up and sold it all off for a quick buck and died slightly richer five years later.”

“Frank [Wells] did most of the work there,” he said.

“Frank wouldn’t have rebuilt it in the same way,” I said, adding, “I much prefer what you’ve done with Disney. Jurassic Park, DisneySea, Valencia, Spider-Man. Maus and The Song of Susan. And do you think that Disney would ever be in bed with Amblin and Marvel and Star Wars without you there to facilitate?”

“Maybe. Probably.” He didn’t sound convinced.

“And yea, you don’t get your hand up a frog’s ass as much as you used to, but look at what you’ve done! Look at the hundreds of great, beloved pictures you’ve made. There’s a whole new generation of Muppet Men keeping Kermit and Piggy and Ernie and Bert alive and making millions….hell, billions of people happy! Isn’t that the real point? Isn’t that what Kermit told Dom Deloise when he was playing me? Jim, you saved Disney Animation. You and Roy. You really think Wells would of done that? Holmes à Court would have scrapped it for sure. Hell, you inspired a half-dozen other great animation studios, even if they’re competition now, but whatever.

“The point is, Jim, you’ve either directly or indirectly inspired or initiated some of the greatest art of the late 20th century! The millennium is nigh, that thing that we all saw as the ‘big beautiful tomorrow’ or however it goes back when we were helping put the final touches on EPCOT. That day is here now, and the shape of entertainment in the 21st century will be largely defined by tropes and techniques and technology that you set in motion at Disney. You’re the biggest fish in the fuckin’ ocean, and the ocean is better for it.

“And fuck, I suck with these metaphors, Jim. But you get it, right?”

I got up and gave Jim a couple of friendly slaps on the shoulder, intending to leave him in peace. He’d sulk a bit, but then snap out of it. He’s not the type to dwell on the negative.

But before I could go, he shocked me yet again.

“Bernie,” he said, “I’ll be announcing my retirement to the board after the Millennium Celebration.”

I sat back down. “You’re sure about this?”

“Absolutely,” he said with total conviction. “It’s been a hell of a ride, but it’s time to hand it off to a new caretaker. You’re the only person outside of my family that I’ve told.”

I thought about it. On the screen, two Gelflings rode their strange, striding things across an alien world. It really was a visually breathtaking film.

“I think that’s a great idea, Jim,” I said, finally. “Disney is in fantastic shape for the new millennium, largely thanks to you.”

“Assuming the computers don’t all explode on January 1st,” he added, forcing me to snort. The small bit of humor was my clue that all was ok with him.

“Jim, I support you. I plan to retire pretty soon myself. Being the Chairman of a major studio and a major television conglomerate is beyond my greatest dreams as a kid in New York who looked up to his washed up, has-been uncle Jack. I’m an old man, now. You’re getting up there, too, I might add. But you still have plenty of time to build that small, intimate studio again. Expand HAH back into a player. The sky won’t be the limit for Jim Henson in 2000.”

Jim grunted, but I believed in a good way.

This time I did leave him to his thoughts as Gelflings battled Skeksis in a gothic cavern. I had plenty of thoughts of my own to consider now.
 
Firstly, I think Jim has well-earned a retirement/return to Henson Art Holdings. He's got more than enough to keep himself occupied in the coming years - however, I hope he accepts a Chairman/CCO Emeritus title.. because if anyone deserved one, it's him.

Secondly... this is an observation here about what Jim and Bernie are musing on - no matter which road you take, you'll always sigh, and wish you'd taken another. Obviously, Jim ITTL doesn't know - and didn't know OTL - what the next ten years had in store for him (as Bernie points out).

If you believe in parallel universes, you have to accept that there are versions of yourself living better or worse lives than you. It doesn't matter in the end - THIS life is the only one that really matters.
 
The Millennium Cometh
Chapter 19: New Millennium, New Challenges
Excerpt from Jim Henson: Storyteller, an authorized biography by Jay O’Brian


Jim counted down with the huge crowd at EPCOT as the small silver ball, a duplicate-in-miniature of the sphere of Spaceship Earth, slowly dropped to its conclusion. At “zero” a sign-of-lights ablaze with “2000” began a showy series of dazzling light effects while a new Disney record in fireworks lit up the Disney World sky to near midday levels. Spaceship Earth had two inflated smaller spheres making the entire thing into a temporary “hidden Mickey”, while cameras from a series of obelisk-shaped towers surrounding the sphere projected a smiling, interactive Mickey face upon it, whom Jim had spoken to a few times earlier in the night (save for that one temporary technical hiccup). Prince and the Revolution played an ear-splitting instrumental version of “1999” after performing the song itself in the leadup to the countdown.

When the crowd’s energy subsided after over 40 minutes of dancing and revelry, Jim delivered the official speech welcoming in the “Great Big Beautiful Tomorrow”, projected an old recorded speech by Walt upon Spaceship One where he spoke about Tomorrowland and the promise of the future, gave a final “secular invocation” for lack of better words, and then quietly slipped away, actually passing out from exhaustion in the back of the car on the way back to his lodging in the Polynesian.

Just 18 years and a lifetime ago he’d helped Card Walker and Ron Miller inaugurate EPCOT and been one of the first to ride through Horizons and look at its view of what the year 2000 was certain to bring, basically none of which had come even remotely true (even as Brian assured him that when internet speeds became sufficiently fast that actual videophone communications would be practical for most people; already the “Video Teleconference” was becoming a thing in the corporate world). Flying cars were not a thing, which, given his experiences driving in LA, seemed like a positive (“They’d be flying into buildings because they’re looking at their phones!”). And other than a slowly growing International Space Station and an occasional Space Shuttle flight, space travel remained something for the future. Only tiny, solar powered robot buggies were travelling to Mars.

Instead, the future increasingly seemed to be information-driven. High-speed internet was starting to proliferate. Video sharing sites, including Disney’s own Viewpoint, named for the “original Reality TV show” that debuted in 1990, were starting to appear, with common folks sharing short videos, sometimes meaningful, sometimes shockingly well produced, sometimes inane, and occasionally controversial. For reasons that Jim couldn’t understand, cats featured heavily.

For Disney, the fabled year 2000 offered a whole new time to reimagine and reevaluate priorities and designs. The “D2K Initiative” would focus on implementing Ackman’s and Peltz’s efficiencies while also working to innovate both technologically and creatively to keep Disney at the absolute forefront of entertainment. New resort refits and expansions and even new resorts were in the planning phases. Disney and MGM films would be pushing into new areas for effects and content. And Jim would be spearheading their launch…but he would not be following them to completion.

In January of 2000 Jim formally announced to the board his plans to retire as Chairman and drop out of day-to-day operations by the end of the year, most likely to coincide with the end of the fiscal year on September 30th. He outlined his preferences for his replacements as Chairman and CCO, mentioning several possible candidates for both, and pushed back on board calls for him to give them “just a couple more years.”

In truth, he was exhausted. The years of challenges, of highs and lows, had worn him out. He gained a certain sense of accomplishment for the things he’d done as Chairman, but he was fully fed up with the corporate world. City of the Sun was doing very well in theaters, the triple-successes of the Marvel films were proving the Marvel Movie Universe concept to be viable despite the DC struggles, and the Disney name and brand were solid. He’d done all that he could to set things on course, and he increasingly felt like he could step aside and fully expect them to go on without him.

But until that time came, he had work to do. And that work, in the immediate aftermath of the well-publicized battle with the Shepherds, meant Public Relations. While the majority of Americans still supported Jim and the Disney leadership, Jack Lindquist was deeply concerned about the residual “brand perception” with up to a third of the country as well as a lingering fear of terrorist attacks. Jim and Jack initiated a series of lectures and public appearances and interviews intended to dispel “lingering myths” and hopefully repair some of the damage. Jim also wanted to “turn the other cheek” as he put it.

This ultimately led to what became one of the most talked about moments in Jim’s tenure at Disney: his November 1999 speech at Liberty University.

“Off to the lions’ den, Daniel?” Bob Forrest asked, earning a gentle rebuke from Jim. He’d worked for hours with Marty Sklar and Jimmy Carter to assemble a speech and talking points, but even so, former Chairman of the Board of Trustees and founder Jerry Falwell, though effectively removed following his “embarrassing” Crusade against Disney, still loomed large in Lynchburg and held a lot of sway.

Still, despite the fears of many that Jim was walking into an ambush, and a small but peaceful protest group that he took the time to briefly meet with and share a short prayer, he found the campus for the most part cordial, and occasionally inviting. He was even stopped for autographs by some students and received a supportive handshake from the leaders of the Christian Youth League, a group of young evangelical Christians which had begun openly questioning the actions of the older generation, particularly their overt politicization of Christianity.

“God belongs to nobody, certainly no political party,” one of them told him. “God is there for everybody.”

“I couldn’t agree more,” Jim said.

Jim found the overall crowd not exactly welcoming, but polite and not openly hostile. He spoke to his own upbringing, as he had many times before, and spoke directly to concerns raised about him and Disney in general, taking the time to try and build bridges rather than act like a besieged enemy. He made a good faith effort to speak to the value of faith for himself and others, but also the need for faith to be “a foundation rather than a monolith”. He quoted scripture that had always been important to him growing up, mentioning what it meant to him while admitting that “others may interpret things differently,” gaining a short laugh.

He directly addressed some of the more controversial things, from an evangelical perspective, released Disney-MGM, such as AIDS awareness and Gay Rights, and spoke directly to the values, including Christian values of his upbringing, that drove him to support them. “My reading of the Gospels tells me that Jesus, were He walking the Earth today, would be curing gay men of their AIDS in The Castro,” he said, which drew a lot of murmurs. “Just as He was there for the lepers and the harlots and other undesirables. I understand if you disagree,” he added, to an uncomfortable laugh.

At the end he took questions, some concerned or hostile, most relatively simple, a few nuanced and impressively complex, and he kept his composure. At the end, some, particularly the Falwell family up front, sat on their hands, but most gave him a polite applause with a few giving more enthusiastic applause and even a standing ovation from the Youth League.

Falwell refused to meet with him, but Jim had a long, private meeting with Chairman Elmer Towns, whose subject he has never shared.

“All in all, it went well enough,” Jim told Marty Sklar on the flight back to LA. Over the coming days Jim and Disney received lots of letters of support from American Christians, outpacing the “hate mail” five-to-one. Some spoke to how the values of Disney and The Muppets spoke to them spiritually, even if they couldn’t exactly alight to the perceived secular politics.

In the long run, it wasn’t the beginning of the end of conservative evangelicals questioning Disney and Jim Henson, but it was the start of some complex discussions in the Christian community, and largely the start of a shift towards a more nuanced approach to pop culture and a stepping away from the confrontational tactics of Falwell by many Christian organizations. Falwell’s “tilt at Disney” has been seen in hindsight by many Christians as a distraction born of egoism rather than a meaningful act of missionary faith. This is not to say that a loud minority of Christian Nationalists doesn’t continue to cause issues for Disney and Henson, or that the condemnations and occasional death threats from a far fringe have stopped, but that the larger trend has been towards “passive resistance and turning the other cheek”. Indeed, growing numbers of Millennium Generation and Postmillennial evangelicals have made ethnic and racial diversity, environmentalism, and a more nuanced approach to LGBTQ+ issues core tenets of their faith[1].

As the challenges of the 21st Century went forward for Disney as an increasingly international company, the story of “Jim going to Lynchburg” remained an important part of company lore and “like Jim to Lynchburg” has become a go-to simile for a necessary but challenging trip to see a former or current adversary or hostile audience.

For Jim himself, the trip was just one of many that he made on the 1999 “whirlwind PR trip”. He recalled finding the Lynchburg valley “beautiful” and wishing that he could have made a camping and rafting trip into the mountains, but he mostly recalled “the promise of the youth” rather than the challenges of addressing a largely hostile crowd.



* * *​

Stocks at a Glance: Walt Disney Entertainment (DIS)

January 10th, 2000

Stock price: $42.07

Major Shareholders: Henson family (21.4%), Disney-Miller family (14.5%), Roy E. Disney family (14.4%), General Electric (11.2%), Bass Brothers (6.5%), Bill Marriott (6.1%), Good Shepherd Alliance (3.7%), Liberty Holdings (3%), Apple Comp. (2.3%), Lucasfilm Ltd. (1.8%), Amblin Entertainment (1.5%), Suspected “Knights Errant” (4.8%), Other (8.8%)

Outstanding shares: 1,495.8 million


The Board of Directors for the Walt Disney Entertainment Company, January 2000:

Stanley Kinsey, CEO
James M. “Jim” Henson, Chairman and CCO
Thomas “Tom” Wilhite, President and COO
Roy E. Disney, Vice Chairman and President, Disney-MGM Studios
Bob Wright (General Electric)
Al Gottesman (President, Henson Arts Holdings)
Dianne Disney Miller (Partner, Retlaw Enterprises)
Peter Dailey (former US ambassador to Ireland and Roy Disney’s brother-in-law)
Alfred Attilio “Al” Checchi (representing Marriott International)
Nelson Peltz (representing the interests of the Good Shepherd Alliance)
William “Bill” Ackman (Gotham Partners; representing the interests of Liberty Holdings)



Advisory Board Members (non-voting, ad-hoc attendance):

E. Cardon “Card” Walker, Chairman Emeritus
Steven Spielberg (Partner, Amblin Entertainment)
Steve Jobs (CEO & President of Apple Computer, Inc.)
George Lucas (CEO of Lucasfilm, Ltd.)
J. Willard “Bill” Marriott, Jr. (CEO of Marriott International)
Ray Watson, Chairman Emeritus (former head of the Irvine Company)
Caroline Ahmanson (head and founder of Caroline Leonetti Ltd.)
Philip Hawley (Carter Hawley Hale)
Samuel Williamson (senior partner, Hufstedler, Miller, Carson, & Beardsley)
Stan Lee (Chairman of Marvel Entertainment)
Ronald “Ron” Miller (CEO Emeritus)
Frank Wells (Chairman and CEO Emeritus)



The Disney Executive Committee:

Stan Kinsey, CEO
James M. “Jim” Henson, Chairman and CCO
Thomas “Tom” Wilhite, President and COO
Bernard “Bernie” Brillstein, Chairman of Disney-NBC Television
John Hench, President, Walt Disney Imagineering Workshop
Roy E. Disney, President, Walt Disney Studios



[1] This is true in our timeline as well, as Millennial and Gen-Z evangelical Christians are much more likely than their parents to support action on climate change, embrace diversity, and reject heavy-handed politics.
 
Chapter 19: New Millennium, New Challenges
Excerpt from Jim Henson: Storyteller, an authorized biography by Jay O’Brian


Jim counted down with the huge crowd at EPCOT as the small silver ball, a duplicate-in-miniature of the sphere of Spaceship Earth, slowly dropped to its conclusion. At “zero” a sign-of-lights ablaze with “2000” began a showy series of dazzling light effects while a new Disney record in fireworks lit up the Disney World sky to near midday levels. Spaceship Earth had two inflated smaller spheres making the entire thing into a temporary “hidden Mickey”, while cameras from a series of obelisk-shaped towers surrounding the sphere projected a smiling, interactive Mickey face upon it, whom Jim had spoken to a few times earlier in the night (save for that one temporary technical hiccup). Prince and the Revolution played an ear-splitting instrumental version of “1999” after performing the song itself in the leadup to the countdown.

When the crowd’s energy subsided after over 40 minutes of dancing and revelry, Jim delivered the official speech welcoming in the “Great Big Beautiful Tomorrow”, projected an old recorded speech by Walt upon Spaceship One where he spoke about Tomorrowland and the promise of the future, gave a final “secular invocation” for lack of better words, and then quietly slipped away, actually passing out from exhaustion in the back of the car on the way back to his lodging in the Polynesian.

Just 18 years and a lifetime ago he’d helped Card Walker and Ron Miller inaugurate EPCOT and been one of the first to ride through Horizons and look at its view of what the year 2000 was certain to bring, basically none of which had come even remotely true (even as Brian assured him that when internet speeds became sufficiently fast that actual videophone communications would be practical for most people; already the “Video Teleconference” was becoming a thing in the corporate world). Flying cars were not a thing, which, given his experiences driving in LA, seemed like a positive (“They’d be flying into buildings because they’re looking at their phones!”). And other than a slowly growing International Space Station and an occasional Space Shuttle flight, space travel remained something for the future. Only tiny, solar powered robot buggies were travelling to Mars.

Instead, the future increasingly seemed to be information-driven. High-speed internet was starting to proliferate. Video sharing sites, including Disney’s own Viewpoint, named for the “original Reality TV show” that debuted in 1990, were starting to appear, with common folks sharing short videos, sometimes meaningful, sometimes shockingly well produced, sometimes inane, and occasionally controversial. For reasons that Jim couldn’t understand, cats featured heavily.

For Disney, the fabled year 2000 offered a whole new time to reimagine and reevaluate priorities and designs. The “D2K Initiative” would focus on implementing Ackman’s and Peltz’s efficiencies while also working to innovate both technologically and creatively to keep Disney at the absolute forefront of entertainment. New resort refits and expansions and even new resorts were in the planning phases. Disney and MGM films would be pushing into new areas for effects and content. And Jim would be spearheading their launch…but he would not be following them to completion.

In January of 2000 Jim formally announced to the board his plans to retire as Chairman and drop out of day-to-day operations by the end of the year, most likely to coincide with the end of the fiscal year on September 30th. He outlined his preferences for his replacements as Chairman and CCO, mentioning several possible candidates for both, and pushed back on board calls for him to give them “just a couple more years.”

In truth, he was exhausted. The years of challenges, of highs and lows, had worn him out. He gained a certain sense of accomplishment for the things he’d done as Chairman, but he was fully fed up with the corporate world. City of the Sun was doing very well in theaters, the triple-successes of the Marvel films were proving the Marvel Movie Universe concept to be viable despite the DC struggles, and the Disney name and brand were solid. He’d done all that he could to set things on course, and he increasingly felt like he could step aside and fully expect them to go on without him.

But until that time came, he had work to do. And that work, in the immediate aftermath of the well-publicized battle with the Shepherds, meant Public Relations. While the majority of Americans still supported Jim and the Disney leadership, Jack Lindquist was deeply concerned about the residual “brand perception” with up to a third of the country as well as a lingering fear of terrorist attacks. Jim and Jack initiated a series of lectures and public appearances and interviews intended to dispel “lingering myths” and hopefully repair some of the damage. Jim also wanted to “turn the other cheek” as he put it.

This ultimately led to what became one of the most talked about moments in Jim’s tenure at Disney: his November 1999 speech at Liberty University.

“Off to the lions’ den, Daniel?” Bob Forrest asked, earning a gentle rebuke from Jim. He’d worked for hours with Marty Sklar and Jimmy Carter to assemble a speech and talking points, but even so, former Chairman of the Board of Trustees and founder Jerry Falwell, though effectively removed following his “embarrassing” Crusade against Disney, still loomed large in Lynchburg and held a lot of sway.

Still, despite the fears of many that Jim was walking into an ambush, and a small but peaceful protest group that he took the time to briefly meet with and share a short prayer, he found the campus for the most part cordial, and occasionally inviting. He was even stopped for autographs by some students and received a supportive handshake from the leaders of the Christian Youth League, a group of young evangelical Christians which had begun openly questioning the actions of the older generation, particularly their overt politicization of Christianity.

“God belongs to nobody, certainly no political party,” one of them told him. “God is there for everybody.”

“I couldn’t agree more,” Jim said.

Jim found the overall crowd not exactly welcoming, but polite and not openly hostile. He spoke to his own upbringing, as he had many times before, and spoke directly to concerns raised about him and Disney in general, taking the time to try and build bridges rather than act like a besieged enemy. He made a good faith effort to speak to the value of faith for himself and others, but also the need for faith to be “a foundation rather than a monolith”. He quoted scripture that had always been important to him growing up, mentioning what it meant to him while admitting that “others may interpret things differently,” gaining a short laugh.

He directly addressed some of the more controversial things, from an evangelical perspective, released Disney-MGM, such as AIDS awareness and Gay Rights, and spoke directly to the values, including Christian values of his upbringing, that drove him to support them. “My reading of the Gospels tells me that Jesus, were He walking the Earth today, would be curing gay men of their AIDS in The Castro,” he said, which drew a lot of murmurs. “Just as He was there for the lepers and the harlots and other undesirables. I understand if you disagree,” he added, to an uncomfortable laugh.

At the end he took questions, some concerned or hostile, most relatively simple, a few nuanced and impressively complex, and he kept his composure. At the end, some, particularly the Falwell family up front, sat on their hands, but most gave him a polite applause with a few giving more enthusiastic applause and even a standing ovation from the Youth League.

Falwell refused to meet with him, but Jim had a long, private meeting with Chairman Elmer Towns, whose subject he has never shared.

“All in all, it went well enough,” Jim told Marty Sklar on the flight back to LA. Over the coming days Jim and Disney received lots of letters of support from American Christians, outpacing the “hate mail” five-to-one. Some spoke to how the values of Disney and The Muppets spoke to them spiritually, even if they couldn’t exactly alight to the perceived secular politics.

In the long run, it wasn’t the beginning of the end of conservative evangelicals questioning Disney and Jim Henson, but it was the start of some complex discussions in the Christian community, and largely the start of a shift towards a more nuanced approach to pop culture and a stepping away from the confrontational tactics of Falwell by many Christian organizations. Falwell’s “tilt at Disney” has been seen in hindsight by many Christians as a distraction born of egoism rather than a meaningful act of missionary faith. This is not to say that a loud minority of Christian Nationalists doesn’t continue to cause issues for Disney and Henson, or that the condemnations and occasional death threats from a far fringe have stopped, but that the larger trend has been towards “passive resistance and turning the other cheek”. Indeed, growing numbers of Millennium Generation and Postmillennial evangelicals have made ethnic and racial diversity, environmentalism, and a more nuanced approach to LGBTQ+ issues core tenets of their faith[1].

As the challenges of the 21st Century went forward for Disney as an increasingly international company, the story of “Jim going to Lynchburg” remained an important part of company lore and “like Jim to Lynchburg” has become a go-to simile for a necessary but challenging trip to see a former or current adversary or hostile audience.

For Jim himself, the trip was just one of many that he made on the 1999 “whirlwind PR trip”. He recalled finding the Lynchburg valley “beautiful” and wishing that he could have made a camping and rafting trip into the mountains, but he mostly recalled “the promise of the youth” rather than the challenges of addressing a largely hostile crowd.



* * *​

Stocks at a Glance: Walt Disney Entertainment (DIS)

January 10th, 2000

Stock price: $42.07

Major Shareholders: Henson family (21.4%), Disney-Miller family (14.5%), Roy E. Disney family (14.4%), General Electric (11.2%), Bass Brothers (6.5%), Bill Marriott (6.1%), Good Shepherd Alliance (3.7%), Liberty Holdings (3%), Apple Comp. (2.3%), Lucasfilm Ltd. (1.8%), Amblin Entertainment (1.5%), Suspected “Knights Errant” (4.8%), Other (8.8%)

Outstanding shares: 1,495.8 million


The Board of Directors for the Walt Disney Entertainment Company, January 2000:

Stanley Kinsey, CEO
James M. “Jim” Henson, Chairman and CCO
Thomas “Tom” Wilhite, President and COO
Roy E. Disney, Vice Chairman and President, Disney-MGM Studios
Bob Wright (General Electric)
Al Gottesman (President, Henson Arts Holdings)
Dianne Disney Miller (Partner, Retlaw Enterprises)
Peter Dailey (former US ambassador to Ireland and Roy Disney’s brother-in-law)
Alfred Attilio “Al” Checchi (representing Marriott International)
Nelson Peltz (representing the interests of the Good Shepherd Alliance)
William “Bill” Ackman (Gotham Partners; representing the interests of Liberty Holdings)



Advisory Board Members (non-voting, ad-hoc attendance):

E. Cardon “Card” Walker, Chairman Emeritus
Steven Spielberg (Partner, Amblin Entertainment)
Steve Jobs (CEO & President of Apple Computer, Inc.)
George Lucas (CEO of Lucasfilm, Ltd.)
J. Willard “Bill” Marriott, Jr. (CEO of Marriott International)
Ray Watson, Chairman Emeritus (former head of the Irvine Company)
Caroline Ahmanson (head and founder of Caroline Leonetti Ltd.)
Philip Hawley (Carter Hawley Hale)
Samuel Williamson (senior partner, Hufstedler, Miller, Carson, & Beardsley)
Stan Lee (Chairman of Marvel Entertainment)
Ronald “Ron” Miller (CEO Emeritus)
Frank Wells (Chairman and CEO Emeritus)



The Disney Executive Committee:

Stan Kinsey, CEO
James M. “Jim” Henson, Chairman and CCO
Thomas “Tom” Wilhite, President and COO
Bernard “Bernie” Brillstein, Chairman of Disney-NBC Television
John Hench, President, Walt Disney Imagineering Workshop
Roy E. Disney, President, Walt Disney Studios



[1] This is true in our timeline as well, as Millennial and Gen-Z evangelical Christians are much more likely than their parents to support action on climate change, embrace diversity, and reject heavy-handed politics.
Welp, this has been a great TL!

I wish Jim the best of luck in his future endeavors.

Also, I wonder what the state of animation will be, will they start pushing more mature content earlier?
 
It's been one hell of a ride - again, I'm gonna say I hope he accepts a Chairman/CCO Emeritus title... because, again, if anyone ever deserved that title, it's him.
 
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