Cancellation of ‘The Acolyte’ Spells Trouble for the Future of ‘Star Wars’

“The Acolyte” was one of “Star Wars’” most ambitious on-screen ventures, set in an era never before explored in live-action media. This Disney+ series introduced a crime thriller aspect, reimagined the Jedi, and intertwined the narrative with lore that challenged traditional views on the Force and its users. Its first season, which concluded in July, hinted at a connection to a legendary dark side figure that had yet to make an appearance in film or television.

However, Lucasfilm has decided not to proceed with “The Acolyte” Season 2, as The Times has confirmed. Although not entirely unexpected, this cancellation represents a setback for the “Star Wars” franchise, tempering enthusiasm for its future.

Created by Leslye Headland, “The Acolyte” followed Osha and Mae Aniseya, twin sisters portrayed by Amandla Stenberg, who shared a mysterious connection to the Force and a complex past with the Jedi. The series is set approximately 100 years before “Star Wars: Episode I — The Phantom Menace” during the High Republic’s decline.

This series marked the first live-action “Star Wars” project to occur outside the established timeline of the Skywalker Saga. While shows like “The Mandalorian,” “Ahsoka,” “Andor,” and “Obi-Wan Kenobi” are nestled within the original and sequel trilogies, “The Acolyte” ventured into a novel era, previously fleshed out primarily in “Star Wars” novels and comics.

“The Acolyte” broke new ground for the franchise, showcasing a new timeline and introducing fresh ideas that added depth and complexity to the perception of the Jedi. It presented diverse and inclusive characters, including non-human Jedi and lesbian space witches, reflecting a broader galaxy.

Despite its innovative approach, “The Acolyte” faced significant challenges. The “Star Wars” fandom has historically been polarized, with some parts vehemently criticizing new directions — a phenomenon that traces back to the reception of “The Phantom Menace.” Criticism, often veiled in prejudice, surfaces even before trailers are released, making projects like “The Acolyte,” created by a woman and starring actors of color, vulnerable to online animosity.

Although this problematic backlash may not have directly caused the cancellation of “The Acolyte,” the announcement was met with satisfaction from certain “anti-woke” circles, including the owner of a major social media platform currently featuring at least one lawsuit against Disney.

Despite this, “The Acolyte” garnered generally positive reviews from critics and initially earned robust viewership numbers, which reportedly tapered off over time. In today’s crowded media landscape, series often need time to develop and build a following — a challenging feat given the shorter windows in which shows need to prove their success.

Not all series can replicate the immediate success of “The Mandalorian” or “Andor,” with the former leveraging nostalgia and the popularity of Baby Yoda since its 2019 debut and the latter delving into “Star Wars'” political roots. Currently, Lucasfilm appears focused on these successful series, with “The Mandalorian & Grogu” film slated for release following “The Mandalorian” Season 4 and “Andor” Season 2 expected in 2025. Additionally, the “Skeleton Crew” series, set to premiere in December, shares creative ties with “The Mandalorian.”

Despite this, Lucasfilm recognizes that “Star Wars” must evolve beyond “The Mandalorian” and “Andor” and the 70-year span of the Skywalker Saga. The High Republic publishing initiative aims to open up the galaxy for new stories. Announced projects like the untitled film by Sharmeen Obaid-Chinoy starring Daisy Ridley, focusing on the future of the Jedi Order, and a James Mangold film exploring the origins of the Jedi Order, indicate efforts to explore “Star Wars'” past and future on screen.

Nonetheless, “Star Wars” cannot afford to delay taking more bold steps like “The Acolyte,” as the reservoir of nostalgia is finite.

This story originally appeared in Los Angeles Times.