If the details are significant, the details should be included. But if the character is essentially a prop, a tool for showing that Lando is really interested in Leia, then I don't think the details add anything, and therefore they shouldn't be there.
Indeed. And that's kinda why you can go too far in terms of showing. The presumption in almost all writing is that anything that's given the 'shown' treatment matters and is important, not necessarily because of it being shown, but simply because it takes more words to show us than to tell us. This character gets more space on the page so naturally it's presumed that this will matter. If you show everything then the reader can't see the difference between the stuff they are supposed to be paying attention to and the background. In the movie world you'd say 'the frame is too busy'; that there's so much going on on screen that the viewer can't keep their attention on the actual characters. Simply by using more words you put prominence on things, you make them stick in the head. That doesn't mean you shouldn't at all show background things; the background is important too and you need to get the right feel and mood from your setting, and taking the time to show, say the flashing cameras beside the red carpet or the wall of noise in a concert hall, you give us details that help to create that. But there's limits to it and particularly when you start describing people we aren't going to see again then that's just dead words. It's why in most cases it's ok to describe a sofa simply as 'the sofa' (ie to tell it not show it) because 99% of the time it's colour and make and design impacts nothing. Even if I am a masterful wordsmith who can move my audience with the beauty of this piece of furniture (which obviously I am ) it's going to totally destroy the rest of the scene by pulling focus off the dialogue happening between people on the sofa. There's all kinds of reasons you can look to why showing at the wrong time is bad; for pacing, for focus, for mood, for the sake of meeting word limits, for the sanity of the audience and indeed for the sake of writing a good book. But it all comes down to the same; when you show it it really needs to be doing something of value. If the beautiful woman will make a surprise appearance later on then by all means show us who she is so we recognize her when she pops up again. But if, as Bay says, she's a prop whose character we never see then just beautiful is fine. It matters that she is beautiful not why she is beautiful.
