Kathleen Kennedy’s tenure at Lucasfilm will likely be remembered as one of the most paradoxical chapters in Hollywood executive history. Her legacy is neither a disaster nor an undisputed triumph, but something in between. The way I see it, Kathleen Kennedy had flashes of creative brilliance alongside baffling, momentum-killing decisions that left Lucasfilm – and specifically the Star Wars brand – in a near-constant state of recalibration over the past 14 years.
At her best, Kennedy greenlit some of the most daring Star Wars storytelling the brand has ever seen. Andor remains the clearest example: a grounded, politically textured drama that trusted audiences to engage with a whole new side of the galaxy. It was prestige television that happened to take place in the Star Wars universe, and it worked precisely because it resisted franchise-bound reflexes. But for every Andor, there was Solo: A Star Wars Story, a film born from impulse – Kennedy herself acknowledged as much in her Deadline exit interview – and a fundamental mishandling of one of Star Wars’ most revered characters. And then there’s Star Wars: The Rise of Skywalker – less a movie than a corporate course correction, shaped by fear and fan backlash following the intense divisiveness around Rian Johnson’s The Last Jedi. The entire Skywalker Saga stands as a cautionary tale about steering creativity by reaction instead of conviction.
Kennedy’s era at Lucasfilm was also defined by frustrating announcements of Star Wars projects that never materialized. There was a consistent pattern – splashy press releases, high-profile filmmakers, abrupt pivots, and then quiet exits. There are scripts from James Mangold, Donald Glover, Steven Soderbergh, and Taika Waititi that may or may not come to fruition…not to mention Rian Johnson’s canceled trilogy and whatever was going to come of Patty Jenkins’ project. It’s okay for filmmakers to pitch early ideas for Star Wars stories, however, Lucasfilm set poor expectations by turning each of these moments into a grand PR event. Eventually, I just didn’t believe any Star Wars project Kathleen Kennedy would advertise, and this eroded trust in the long-term vision.
Now to turn our attention to what’s next: Dave Filoni. Filoni is the beating heart of Star Wars at this point – not because he imitates George Lucas, but because he seemingly understands his ethos. His transition from deeply beloved animated storytelling with The Clone Wars into live-action success with The Mandalorian invigorated the brand. Filoni, alongside collaborators like Jon Favreau, represents something Lucasfilm has too often lacked; creators with deep reverence for the mythology of Star Wars, not just excitement about playing in its sandbox. If Filoni can resist Kennedy’s tendency toward constant resets and instead cultivate talent that genuinely understands. Star Wars from the inside out, Lucasfilm will finally find steady footing and The Force will be strong well into the future.
