Ignore the Death Star; the most sought-after entity within the Star Wars cinematic arsenal is none other than the character of Rey Skywalker. Since the November 7th announcement that Simon Kinberg had inked a deal to develop, pen, and produce a fresh Star Wars trilogy for Lucasfilm and Disney, discussions have centered on whether this new series would serve as a sequel to the revered nine-film Skywalker Saga, intertwining it with the enduring legacy of Luke Skywalker, Darth Vader, and the narratives initially crafted by George Lucas in 1977. The crux of this debate hinges on the anticipation that Rey, in some shape or form, will star in this upcoming trilogy.
Some enthusiasts have voiced their discontent with Lucasfilm's potential return to the wellspring of "episodes" beyond the nine films that constitute the definitive Skywalker narrative, which was purportedly brought to a close with the 2019 release of Star Wars: Episode IX – The Rise of Skywalker. Although the film raked in a staggering $1.077 billion worldwide, it failed to win over a significant portion of the fanbase (receiving a B+ rating from CinemaScore's polled audience and a 51% approval rating from critics on Rotten Tomatoes).
However, Rey, the scavenger-turned-Jedi portrayed by Daisy Ridley in the final three episodes, holds the key to the franchise's next chapter. This places Kinberg's trilogy, albeit still in its nascent conceptual stages, on a potential collision path with the standalone Rey movie, which is actively being developed by director Sharmeen Obaid-Chinoy. This highly anticipated feature, unveiled with great fanfare at the Star Wars Celebration in London in April 2023, is set to star Ridley and might have already commenced production if not for some unforeseen hurdles. With writers rotating faster than R2-D2's chrome dome, a search for a new screenwriter is currently underway, making it uncertain when the standalone film will commence production.
Perhaps that is the underlying reason Lucasfilm warmly embraced Kinberg's multifaceted narrative proposal, eager to propel Rey's journey forward. Yet, such maneuvers inevitably sparked whispers within the clandestine corridors of the Star Wars underground, hinting at a fierce competition among filmmakers vying for control over beloved characters. Ridley, on her part, recently confided in The Hollywood Reporter, her voice tinged with anticipation, "I sense that the new venture, or ventures, will be immensely intriguing. Much time has elapsed, and I've personally undergone significant transformations, so returning to a character I know so intimately, yet in such a different phase, promises to be fascinating."
While insiders refute the notion of a full-fledged battle for Rey's story arc, there undeniably exists a thoughtful deliberation within Lucasfilm about the future of Skywalker's heir. A source close to the franchise, sharing insights with THR, emphasized, "She stands as the most precious cinematic gem, perhaps the sole one, that Star Wars possesses at present." (Pedro Pascal's Mandalorian and the baby Yoda-esque Grogu, both Disney+ originals, will soon test their big-screen prowess in a feature helmed by Jon Favreau, slated for 2026.)
According to informed sources, Rey is poised to feature prominently in several motion pictures currently in development, albeit the specific projects remain shrouded in mystery.
The development of Star Wars films has faced scrutiny for years, with Lucasfilm's head, Kathleen Kennedy, taking heat for failing to cultivate characters with depth beyond those originally conceived by Lucas before Disney's $4 billion acquisition in 2012. As the franchise ventures further into its canonical timeline, the iconic figures – Luke, Leia, Vader, Obi-Wan, Yoda, and Han – have either perished or concluded their sagas in prequels or spin-offs. Rey, a creation of the post-Lucas era, emerges as the sole figure currently commanding cinematic relevance. "The cupboard is rather bare," remarks another source.
Kinberg's hiring underscores the fact that Lucasfilm's film development constitutes a distinct ecosystem within Hollywood. Numerous Star Wars films, overlapping in characters or timelines, are simultaneously in gestation. Although unrelated, the release of one could trigger a domino effect, influencing subsequent endeavors. (James Mangold's "Dawn of the Jedi," set long before the Skywalkers, might be an exception.)
Some Lucasfilm directors are privy to the endeavors of their peers, while others operate in blissful ignorance. Taika Waititi is crafting a Star Wars film, Shawn Levy is working on a feature-length project, and Donald Glover's Lando idea has transitioned from television to film development within Lucasfilm. Additionally, a Rogue Squadron project continues to evolve as a major motion picture.
"It's a unique development paradigm," notes another insider familiar with Lucasfilm's operational mode. "There's an abundance of parallel work happening simultaneously."
This underscores Star Wars' unparalleled nature. To fans, and indeed to many filmmakers and producers, it transcends the label of a brand or franchise, functioning as a quasi-religion. Unlike Marvel or DC, propelled by decades of storytelling, or even Harry Potter, grounded in seven meticulously detailed books, Star Wars' core remains the original George Lucas trilogy. No modern sequel or spin-off has been elevated to canonical status beyond those seminal films. For filmmakers and executives, the first trilogy is akin to the Old Testament.
"You're tasked with authoring the new New Testament," adds a source who contributed to previous installments. "Consensus is elusive, and there's a pervasive second-guessing of intentions."
A more pragmatic source, intimate with the industry dynamics, observes, "Star Wars is fueled by nostalgia, and the wells of nostalgia are dwindling."
Conversely, the television division seemingly escapes these quagmires. As insiders attest, this arm enjoys greater latitude to expand Lucas' universe, resulting in a varied slate that ranges from the critically acclaimed Andor (season two premiering next April) to the canceled The Acolyte, alongside a niche for Dave Filoni, creator of Ahsoka and Lucasfilm's chief creative officer.
An insider appends, "Crafting standalone films or continuing the Skywalker Saga in any form poses a fundamental dilemma for the company as it strives to forge ahead."
