Willow: From eighties fantasy to a modern streaming revival
In discussions about Willow, the focus often lands on its surprising journey. It reached number one in the United States when released in May 1988, yet it faced commercial disappointment and mixed critical reception. Some outlets dismissed it as a Star Wars echo without star quality. Time called it that, and Newsweek at times questioned the value of drawing fresh ideas from familiar inspirations. The notion persisted that anything new must be built from something old, a sentiment critics sometimes cling to even when it hatches a strong fan following.
One historian notes a defensive streak. For many who grew up in the eighties, Willow represents a carefree escape. It is a touchstone of childhood cinema, a memory of video shop shelves that often held no shortage of surprises. The film is remembered as a gateway to wonder rather than as a critique to be settled, a reminder of films that felt like a shared secret among friends.
Jonathan Kasdan, a longtime collaborator with Lawrence Kasdan and a trusted Lucasfilm contributor, was among those enchanted by Willow in the late eighties. Warwick Davis portrayed the nelwyn farmer Willow Ufgood, aided by the swordsman Madmartigan, played by Val Kilmer, and the rebel princess Sorsha, portrayed by Joanne Whalley. Together they protected a baby destined to challenge Queen Bavmorda. The cast and crew tapped into a sense of adventure that resonated with audiences then and continues to spark discussions today.
Imagining a future, the question arises: how would the eight-year-old viewer feel upon learning that the Willow story would return as a series on Disney+, debuting on a recent Wednesday? The screenwriter laughs at the idea of not having a sequel back in the day, yet welcomes a chance to revisit the world and take it somewhere new. The platform’s appetite for expanded intellectual property has enabled a refreshed exploration of the tale and its possibilities.
“Everything was great except me”
About a decade ago, Warwick Davis, who has spoken openly about his stature, teased a future Willow sequel in a self‑made comedy special. In that bit he recalled the moment when Val Kilmer was seeking funding for a follow-up while the budget for a series took a different path. Disney+ ultimately financed the project, creating space for a broader universe built around familiar faces and new stories.
Davis keeps the mood light with humor, yet he also speaks with warmth about the collaboration. He explains that Kasdan encouraged improvisation and a lighter approach to the material, while still honoring the core scripts that shaped the original film. The sense that the production was cinematic yet communal persists in his reflections, a reminder that the Willow project was as much about people as it was about spectacle.
As Davis notes, there was little difference between the original Willow shoot and the new work around it. He recalls the feeling of belonging to the Lucasfilm family, a familiar ecosystem where talent and shared history create momentum. The parallel to Star Wars beginnings is evident, but the emotional pull remains its own, centered on kinship and the call of adventure.
problems are growing
Why bring Willow back at all? Kasdan explains the narrative intent clearly. A story would follow the next chapter of Elora’s life and the ongoing friendships around her. The focus would be on Willow and three young performers, each approaching the adventure with a distinct lens. The plan maintains a sense of discovery while threading in new dynamics that speak to contemporary audiences.
Ruby Cruz, known for a role in Mare of Easttown, plays Kit, the swordswoman princess who is the daughter of Queen Sorsha. Kit chooses to keep her lineage private as the kingdom moves toward liberation. The character arc explores the question of how a young leader navigates power and personal loyalties. Kit’s ally and combat mentor is Jade, portrayed by Erin Kellyman, who describes her character as brave, honorable, and reliable. Jade embodies the ethic of mentorship and courage that threads through the ensemble.
Joining them is the resilience of Palomita, Kit’s brother who secretly joins the rescue effort. The cast includes Ellie Bamber, known for Pride and Prejudice and Zombies, as a strong‑minded young woman who discovers her identity along the way. The magical force remains the legacy of Willow Ufgood, the only wizard in the vicinity, now guiding a newer generation through the revived story.
light and lightness
Willow’s tone remains unusually buoyant for a fantasy project. Kasdan and director Ron Howard infused the production with a lightness that echoes the original film while drawing on influences from youth cinema and cult television. The result is a story that balances wonder with humour, often surprising viewers with moments of warmth and wit alongside peril.
The new series has drawn attention for its ambition and its fresh take on gender dynamics. The cast highlights three central female leads who carry much of the drama and action, a deliberate choice that adds depth to the adventures. As Ellie Bamber reflects, the portrayal offers a meaningful lens on how women navigate growth, power, and partnership within an epic quest. The balance of charm, intelligence, and agency distinguishes the series as a continuation that stands on its own while honoring its roots.
In telling this renewed tale, the storytellers emphasize that the Willow world remains a space where young people can shape their own destinies. The show invites a new generation to explore a universe that feels both familiar and boldly expanded. The result speaks to fans who cherished the original and to newcomers drawn by a well-crafted adventure that refuses to be bound by nostalgia alone. [Citation: Kasdan interview; production notes; cast commentary]