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Actor Gina Carano Sues Lucasfilm and Disney over her Firing from ‘The Mandalorian’ 

This Oct. 19, 2019, file photo shows Gina Carano at the Disney Plus launch event promoting "The Mandalorian" at the London West Hollywood hotel in West Hollywood, Calif. (AP)
This Oct. 19, 2019, file photo shows Gina Carano at the Disney Plus launch event promoting "The Mandalorian" at the London West Hollywood hotel in West Hollywood, Calif. (AP)
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Actor Gina Carano Sues Lucasfilm and Disney over her Firing from ‘The Mandalorian’ 

This Oct. 19, 2019, file photo shows Gina Carano at the Disney Plus launch event promoting "The Mandalorian" at the London West Hollywood hotel in West Hollywood, Calif. (AP)
This Oct. 19, 2019, file photo shows Gina Carano at the Disney Plus launch event promoting "The Mandalorian" at the London West Hollywood hotel in West Hollywood, Calif. (AP)

Actor Gina Carano on Tuesday sued Lucasfilm and its parent The Walt Disney Co. over her 2021 firing from “The Mandalorian,” saying she was let go for expressing right-wing views on social media.

The lawsuit Carano filed with help from X, formerly Twitter, in federal court in California alleges her wrongful termination from the “Star Wars” galaxy Disney+ streaming series after two seasons over a post likening the treatment of American conservatives to the treatment of Jews in Nazi Germany.

“A short time ago in a galaxy not so far away, Defendants made it clear that only one orthodoxy in thought, speech, or action was acceptable in their empire, and that those who dared to question or failed to fully comply would not be tolerated,” the lawsuit opens. “Carano was terminated from her role as swiftly as her character’s peaceful home planet of Alderaan had been destroyed by the Death Star.”

The lawsuit alleges she was fired because she “dared voice her own opinions” against an “online bully mob who demanded her compliance with their extreme progressive ideology.”

Disney and Lucasfilm have not filed a response to the lawsuit, and representatives did not immediately respond to an email requesting comment.

A Lucasfilm statement at the time of her firing said “her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”

Carano is seeking damages to be determined at trial and a court order that she be recast on the show.

The “Mandalorian,” starring Pedro Pascal, has aired for three seasons and is now being turned into a feature film. Several interconnected series also air on Disney+.

The lawsuit says Lucasfilm also hurt her future work prospects by making “maliciously false” statements about her.

Carano, a former mixed martial artists who played the recurring character Cara Dune on the bounty hunter tale “The Mandarlorian,” deleted the post but it was widely shared online and spurred a trending #FireGinaCarano hashtag.

Carano had previously been criticized for social media posts that mocked mask wearing during the pandemic and made false allegations of voter fraud during the 2020 presidential election.

Carano said on social media Tuesday that X had helped fund the lawsuit. X owner Elon Musk shared her post, adding that anyone else who felt they had been wronged by the company should “let us know if you would like to join the lawsuit against Disney.”

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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.