We'll see remakes of the original trilogy for sure now. If they cast Justin Beiber into it I'll personally kick Robert Iger in the groin. Maybe Eisner too, guilt by association.

The fark.com photoshop challenge for this story had some funny composites.  Plus some scary mashups of years ago stuff with stormtrooper armor and disney masks that cosplayers did.

I don't have a problem with this. In fact it's probably the best thing I can think of. 

Dark Horse Comics did a fine job revisiting the franchise at first but they got rather bland pretty quick. And then they oversaturated the market with offshoot titles: Tales of the Jedi, Rogue Squadron, Old Republic, Clone Wars, the regular ongoing series, the numerous one shots and limited series, and I'm sure there are more since I stopped buying them nearly ten years ago.

None of them held a candle to the Marvel run of Star Wars. Mandalore Warriors, Zeltrons, Amaiza & Jaxxon, House of Tagge, Valance the Hunter...seriously with all the new material since then a new run from the House of Ideas is a great thing to have.

Although I have to say I will surely miss the opening fanfare of 20th Century Fox. It was a natural match with John Williams' opening score, to this day every time I see a Fox movie I half expect that fanfare to be followed by "A long time ago in a gallaxy far, far away..."

Still, if Lucas could do credits at the end in 2005, who's to say Disney can't do it in 2015?

It was my understanding that Lucas bypassed the guild to invoke the end credits. Stopped paying dues or something to that effect, to which the guild launched their suit. I hadn't heard he actually paid anything for it. Not saying that never happened, that's just what I've seen discussed in the past.

In theory. But they have still blatantly disregarded obvious copyright laws (and the resultng consequences), more frequently than even they care to admit.

For that I would reference Wild Hogs...Disney (masters of merchandise whoring and infringement lawyer-up trigger happy that they are) tried to call Ray Liotta's bunch "Hell's Angels" prior to releasing the movie. Self fabricated patches and all. Care to guess who sued the snot out of Disney for that copyright infringement? In addition to the legal fees they had to reshoot all those sequences thereby delaying the release.

Even the producers of Ghost Rider knew better than to try anything close to that a year prior to Wild Hogs. They went to HA for permission to use the simple term "Angels" (with no other reference to be invoked) for the Blackheart @ Broken Spoke saloon scene. It wasn't even necessary, they just possessed enough common sense to know better than slighting a group like the Hell's Angels.

HA chapters showed up on opening night for both flicks in numerous towns, one to promote and enjoy and the other to disrupt. I'll let your imagination wander as to which act went where. ;)

I can't tell if you're joking or not, given the rest of your post.

As for Joss Whedon, you named many of his projects that I don't like, except Firefly. The Avengers was decent, but I haven't really been thrilled with any of the movies they've done for the individual characters of the Avengers, except Captain America, and the Avengers was just an extension of that. I find that a failing of the franchise, not the one of many directors and screenwriters that have contributed to relating someone else's story for the money.

I'm not sure what you didn't like about Firefly, but that series established his genius in my mind. I liked Angel because it wasn't Buffy the Vampire Slayer. Each series was twisty. Many love and many hated Dollhouse, but I found it a good long-term plot; I like shows that are looking to a bigger picture and provide the unexpected, which all his shows do. His writing is actually an excellent demonstration of good writing habits and methods and have even helped establish many modern conventions in writing that have improved storytelling.

You pointed out some of his failures, and left out the worst, Waterworld (The biggest flop in history until the Hulk; it was a Road Warrior knock-off), but what about such works as the movies Speed, Toy Story or the X-Men? However, Screenwriting is not in the power of the Screenwriter. You can have an excellent screenplay, but it could be based upon a bad writer's work and/or get all twisted by the director and the editor. The Screenwriter is hardly in control of either the starting or ending production. So let's look at what he created and/or directed: Buffy the Vampire Slayer, Angel, Firefly and Dollhouse all have diehard cult fanbases, a series of successes that no other series creator could claim except Glen A. Larson (Who also has a huge body of flops). The Avengers has been proclaimed to be the best of all of Marvel's movies (I disagree, but that's my opinion.) His list of awards and nominations is extensive. You may not personally like him, but that doesn't say anything about whether he is a good creator, writer or director. He has been touted as one of Hollywood's best since he was 16, and I agree, even though I don't like the majority of his work. The sign of a great imagination is when lightening strikes more than once, and it has struck many times with him. So I view your opinion with a very large grain of salt and respect your opinion, but I have no idea what type of entertainment you do like. The wording of your statement "It can't be any good," says to me that you didn't actually see The Avengers, so I can't really take that as authoritative in any respect.

That said, while I would trust Star Wars to Joss Whedon long before Joseph Hosinski (Tron Legacy), I'd probably prefer Peter Jackson to helm Star Wars over most others. He knows how to tap into the feel that the fans are looking for. Though Gore Verbinski would probably be the best of all choices.

The secret code of any corporation is if they aren't stealing something that is "fresh to them" then they're not doing their job. The trick is how carefully they can tip-toe around the legal loop holes. One of those loopholes is if you make it "different enough" it isn't an infringement. I don't know the ramifications behind the clause, but it exists. SF dodged the bullet by making mild insinuations to SW, Disney blatantly tried to rip off HA in Wild Hogs. Big difference.

<cough> Image? </cough>

Rob Liefeld was the biggest instigator in this regard. More than half of his Image comic characters were blatant rip offs of his own work in New Mutants/X-Force. The rest were blatant rip offs of other Marvel characters he never did. One of them was a line for line knock off of Sabretooth in the exact same splash page pose as he rendered in Marvel's pages. And I swear he uses a rubber stamp for the faces.

Considering how Rob Liefeld was Rob Liefeld's biggest fan-boy, I'm pretty sure he was exaggerating.

I tried reading them, really, I did give Image a chance when they first launched. It was painful. Those aforementioned Resident Evil films (or even Twilight for that matter) are easier to sit through that trying to digest those Image comics. Image was the precusor to modern film techniques of all fluff with no stuff. Most of those clowns that left Marvel to form their own lines of "owner properties" quickly learned that it wasn't art alone that sold books but that there was this important supporting thing called a "story". After all that's what books are: stories. 

But Liefeld never grasped that concept.

And it didn't help that Image debuted at the same time when sportcard shops ruined comics with their hype. How a Spawn #1 to this day can be worth more than any silver age Marvel filler issue is beyond me, moreso when you can't even find those filler issues and every dealer has scores of Spawn #1 to replace that $25 piece of crap hanging on the wall, should it ever actually sell. I mean the last time I was involved in comcis Spawn had a regular print run of about 40K issues a month, indicating tht there are about 40K Spawn readers out there. The first issue of Spawn had a print run in the millions. It's safe to say that anyone who likes Spawn has a #1, in fact it's safe to say they have more than one copy. Yet there's that inflated price still hanging on. Hype.

Working in that comic shop I saw one trend with Liefeld: he would start a project, get halfway into it, and that would inspire another project. Which he would start, get halfway into, and abandon for yet another. I don't think he ever finished anything he started...if he did I missed it but then again I stopped reading his garbage long before he had a chance to commit. But that trend was apparent with every series he did...Diamond would list a new Liefeld title and it would make it to 2-3 issues and the listed 4th+ issue never shipped as he fired up another title.  I remember the shop owner promising any Liefeld fan that if issue #4 ever shipped he'd let them have it for free. I don't think he ever had to fulfill that promise.

After it was all said and done I remember seeing Liefeld Captain America books before 2003 when I stopped buying comics. It seems they tucked their tails between their legs and crawled back to Marvel begging for work. Some rebellion that turned out to be (rebellion, and now we're back on topic again LOL).

I'm picturing a roller coaster ride with faux bikes for cars that lean into the curves. The funny thing is if such a ride ever came to be, those faux bikes would go faster and lean harder than a real Harley ever could.