David Benioff & D.B. Weiss' films

Benioff and Weiss’ series of Star Wars films will debut in 2022


From LaughingPlace.com:

“This morning, during a Q&A session at the MoffettNathanson Media & Communications Summit, Disney CEO Bob Iger confirmed that the next Star Wars films released will come from Game of Thrones showrunners David Benioff and D.B. Weiss.

  • While it was announced in February 2018 that Benioff and Weiss were developing a Star Wars film trilogy, last week’s Disney release slate reveal left it unclear whether the movie arriving in 2022 would be those penned by the duo or by The Last Jedi director Rian Johnson.
  • Well, just in time for this Sunday’s Game of Thrones finale, Iger confirmed that the first film of the Benioff/Weiss series would be the next to be released.
  • This would suggest that the two follow-ups would take slots in 2024 and 2026, although Iger didn’t go so far as to confirm that. […]

What they’re saying:

  • Disney CEO Bob Iger on the Star Wars “hiatus”: “The conclusion that we reached was that three years was the proper amount of time to not only take a breather and reset but to really gear up for the next film’s release.”
  • Iger on the Benioff/Weiss film: “We did a deal with David Benioff and D.B. Weiss, who are famous for Game of Thrones, and the next movie we release will be theirs — and we’re not saying anything more about that.””


  • Alexrd

    “David Benioff and D.B. Weiss, who are famous for Game of Thrones”

    Considering the drastic drop in quality once there were no more books left to adapt, we can see what they are famous for more clearly than ever before. I guess that’s why they were chosen. After all, Star Wars saw a similar drop in quality once they decided not to adapt content from the original author.

      • Stefan K

        Personally, I doubt it. The trilogies as “the core of the franchise” will probably remain family friendly, in contrast to “spin-offs” like TV series or standalone movies where they might try to push for an R-rating. On the other hand, it could still be risky to release something R-rated in a franchise like SW known to be enjoyed by all ages.

      • jppiper

        stefan k
        and yet there are people who think star wars should be r-rated with many thinking if the vader movie happened it should be rated r in my opinion some fans are Blood Thirsty Psychopaths

    • Matthew Rib

      And, yet, despite the so-called drop in quality, GOT still got more viewers this season than any others. So, try harder.

      • Star Wars Hexalogy

        And The Force Awakens with The Last Jedi also got glowy reviews and made c…loads of money. There is a lot of not very bright people who like junk, we know.

      • Alexrd

        Try what harder? It’s easy and safe to make money when you are standing on the shoulders of long existing material/franchise that you didn’t create. In any case, making money in and on itself is not and never was a sign of quality.

      • Cryogenic

        @ Alex:

        “It’s easy and safe to make money when you are standing on the shoulders of long existing material/franchise that you didn’t create.”

        And to add to that beautifully salient point:

        Disney has, so far, seen starkly diminishing returns on the four Star Wars films (if we’re calling them Star Wars films) they’ve presently (and rather hurriedly) churned out:

        TFA broke records and made over $2 billion (to relatively rapturous applause), then TLJ broke its own leg and slumped at $1.3 billion (and seemingly destroyed any good will left over from the afterglow of TFA and “Rogue One”).

        Similarly, if we look at the spinoffs, R1 made just over $1 billion (earning general acclaim), while “Solo” sank virtually without a trace to a pathetic $392 million (earning mild critical approval and a few underwhelming, perfunctory moans of appreciation from a hollowed-out and bewildered fanbase that may have grown tired of “classic” Star Wars callbacks and lame, unambitious bolt-on projects).

        The double whammy of both TLJ and “Solo” terribly under-performing is what led to big cheese Bob Iger declaring that there would be a temporary moratorium on forthcoming movie ventures (Episode IX, for obvious reasons, aside) — as Disney licked its wounds, seethed with private indignation, and tried to decide if it can still possibly get away with pumping out heartless product and dogwhistling to forty-year-old OT fanboys for another twenty years.

        Now that the honeymoon period is over and the bloom is off the rose, we can see reality beginning to trickle in (or come gushing in — depending on your POV). Star Wars, if not handled right, maybe isn’t that profitable; not if you’re making tent-pole movies and hoping each one makes a killing. Star Wars is popular, but it’s not the hottest game in town anymore. It wasn’t even that when the prequels arrived. But the prequels did okay and prequel fans took decades of flack.

        By comparison, a lot of the most vocal Disney fans seem rather thin-skinned, and maybe it’s no wonder.

        Not if you have the logic of someone like a certain “third-wave feminist”, on a certain message board, that obviously hoped the new films would be the cure for — and from — man cancer. Gorgeous vessels of light, delivering shining epiphanies, that would enrapture her spirit (appeal to her ego) and destroy the poison of unreconstructed masculinity in wider culture, like a perfectly-targeted Death Star laser, for good, allowing feminism to brightly blaze and burnish its message of peace and tolerance and utopic equality of the sexes (men and women are equal, but women are more equal) onto the human breast forever and ever, ameen.

        Or take another big-mouthed Disney defender, rabidly getting in prequel fans’ faces with the tedious (and tendentious) notion that the prequels, or AOTC and ROTS, had terrible box-office takings, because the shameful and embarrassing TPM unleashed a plague of locusts (Jar Jar and midi-chlorians — more insidious than frogs and storms of fire and darkness will ever be), ruining any chance the prequels had at maintaining a strong and loyal audience. Unlike the Disney films, which were on course for a stunning, unqualified victory, after the box-office avalanche of TFA. Just wait, they protested — the sequel installments would utterly destroy the prequels and completely put their underwhelming success in the shade.

        That’s what happens when true fanaticism seizes a fanbase. It almost doesn’t need mentioning, but both of those aforementioned individuals were big-time fans of the prequels when they came out, later turning on them, and Lucas, and doing so with a good degree of condescending, sadistic glee. However, when it came to the new Disney films, they derogated criticism (in the case of the latter) and even made it illegal (in the case of the former). Not only would criticism of the Disney films be rendered “silly”, but you wouldn’t even be allowed to make certain criticisms (such as calling Rey a Mary Sue) at all — even though both those same individuals harped on even the most minor of issues in the prequels (“How does Padme know about the hangar on Geonosis?”) and bashed the prequel characters with glee (“Anakin is a moron in ROTS and Padme is a wuss and a 19th Century stereotype, and 19th Century stereotypes need to die, and stop mansplaining to me to the contrary”).

        If the whole Disney-owned Star Wars enterprise crashes to the ground and goes up in flames, as it looks slightly in danger of doing (though the franchise is probably capable of taking a fair few more knocks before that happens), I doubt I’ll be able to suppress my laughter and my delight. At this point, outside of what Lucas did, the whole thing is effectively dead to me. The only character in the entire new set of films I even slightly like is Kylo. But even there: I have my own specific reasons that might not map onto anyone else’s sensibilities.

        Honestly, Star Wars may be many things to many people — and that’s fine. But I don’t care about these characters, the world they inhabit, the ships, the vehicles, the dialogue, the locations, the whole tone and feel. Nothing. Even John Williams’ music barely registers to me in the sequels. I care about what’s happened to Star Wars (and certainly what’s happened to free speech), but I don’t care about the results. Because the results, to me, are worse than bad: they’re dull, boring, stiff, idiotic, preachy, vapid, banal, trite, and soulless.

        And on some places, many places, you can’t even talk about it. You’re just meant to take your prequel ball and quietly go home. Well, if this is home, here I am, telling a rare and special few: Disney doesn’t cut it. But Star Wars under its maker is still a thing worth getting excited about. Despite the disappointing, sad, and loathsome events of the past seven years, there is something to the first six films and that whole era that remains magical — a unique creator-spectactor process that we will never have again. But boy, can we treasure the one we did get, and let it continually rejuvenate and bring us back to life anew.

    • Stefan K

      Everyone, please keep the discussion respectful. You may of course agree or disagree with Alexrd’s statement regarding GoT.
      To add my 2 cents, the two may indeed have been chosen because they “know how to handle a franchise when there is no source material left” (or something similar). Whether they are really successful at it (from a quality point of view) seems to be disputed. Alexrd thinks that they are not, Matthew (probably) that they are. We will see. (As stated elsewhere, I am not that interested in the new SW trilogies, but I may still like them.)

  • archdukeofnaboo

    Well, folks, get ready for the casting. If Daisy Ridely can arise out of nowhere, then so can you!

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