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YES, SHE CAUSED A BELOVED FRANCHISE TO DEI A PAINFUL DEATH: Good riddance, Kathleen Kennedy.
If you wanted a skilled producer with excellent taste and blockbuster smarts, you sent for Kathleen Kennedy. And she delivered, over and over again.
It therefore was not remotely surprising that, when Lucasfilm passed into the hands of Disney, Kennedy was seen as the perfect person to shepherd their projects into highly profitable existence. With Star Wars pried from the protective hands of Lucas, Kennedy was free to expand the saga from a galaxy far, far away into a never-ending project in IP renewal. The first picture that came out, 2015’s The Force Awakens, was a shameless exercise in fan service, but it was still exciting and nonetheless made over $2 billion at the global box office. Kennedy was lauded to the skies; she announced plans for more films, to be released at the rate of one a year, and television series to fill in the gaps. Audiences loved Star Wars, and they were about to get an awful lot more of it.
What went wrong over the intervening decade represents one of the most fascinating – and deadening – studies in Hollywood hubris that there has ever been. There were two more canonical Star Wars films, Rian Johnson’s insultingly sneering and smug The Last Jedi, and returning director J.J. Abrams’s panicked The Rise of Skywalker, which was a desperate exercise in undoing all Johnson’s provocations. Both films were commercial hits but lacked the freshness of The Force Awakens.
As John Nolte wrote a couple of weeks ago, “Personally, Star Wars has worked so hard to alienate, offend, insult, and troll its loyal fanbase, it wouldn’t surprise me if Mandalorian & Grogu underperforms. We just don’t care anymore. There’s an air of indifference out there, a sense of moving on. I see it too with Paramount’s woke warping of its Star Trek franchise. The creators politicize their golden geese to a point where disappointment turns to anger and then the most deadly fate of all sets in for the brand: indifference.”
