George Lucas’ Outburst at Daisy Ridley: A Star Wars Screening Sparks Galactic Drama
The Star Wars universe, no stranger to controversy, has been thrust into a new maelstrom with a stunning report: George Lucas, the franchise’s legendary creator, reportedly exploded at Daisy Ridley, the actress behind Rey, following a private screening of the upcoming Star Wars: New Jedi Order. The news, breaking just moments ago, has set fandom ablaze, reigniting debates about the saga’s direction, creative control, and the pressures facing its stars. With the $300 million film—slated for 2027—already under scrutiny, Lucas’ alleged tirade against Ridley, whose return as Rey has divided fans, threatens to derail Disney’s latest galactic gamble. What sparked this outburst, and how did a screening turn so sour? Let’s navigate the hyperspace of this drama, exploring Lucas’ reaction, Ridley’s role, and the stakes for Star Wars’ embattled future.
The Rey Movie: A Galaxy on Edge
Star Wars: New Jedi Order, directed by Sharmeen Obaid-Chinoy, marks Rey’s first solo outing since 2019’s The Rise of Skywalker. Set 15 years after the sequel trilogy, it follows Rey rebuilding the Jedi Order while facing a new threat tied to the Force’s balance. Ridley, now 32, reprises her role alongside a fresh cast, with rumors of John Boyega’s Finn and Oscar Isaac’s Poe Dameron returning in cameos. Penned by Steven Knight and produced by Lucasfilm president Kathleen Kennedy, the film carries a $300 million budget, dwarfing The Force Awakens’ $259 million. Disney positioned it as a bold step forward, aiming to move past the sequel trilogy’s mixed reception—The Last Jedi’s 91% Rotten Tomatoes score clashed with its 42% audience rating, while Rise of Skywalker limped to $1.07 billion globally.
The project hasn’t been smooth sailing. Announced in 2023, it faced delays from the 2023 writers’ strike, multiple script rewrites, and fan skepticism over Obaid-Chinoy’s comments about making “men uncomfortable” with her feminist lens. Some fans, still stinging from The Acolyte’s cancellation after its 18% Rotten Tomatoes debut, fear another “woke” misfire, while others crave a return to the mythic storytelling of Lucas’ original trilogy. Lucas, who sold Lucasfilm to Disney for $4.05 billion in 2012, has stayed mostly hands-off, save for consulting on The Mandalorian and praising Andor’s grit. His reported involvement in the Rey movie—a rare step for the 80-year-old—raised hopes he’d steer it toward his vision of archetypes and adventure, making his alleged outburst all the more seismic.
The Screening Showdown: What Happened?
Details of Lucas’ clash with Ridley are murky, but sources claim it unfolded at a private screening of an early cut of New Jedi Order in early 2025. Attendees reportedly included Lucas, Ridley, Obaid-Chinoy, Kennedy, and select Disney executives. The film, still in post-production, was a rough assembly, blending placeholder effects with finished scenes—a standard stage for big-budget projects. Lucas, invited as a courtesy given his creator status, allegedly left the screening livid, zeroing in on Ridley’s performance and the film’s direction.
One unverified account suggests Lucas called Ridley’s Rey “unrecognizable,” accusing her of straying from the scrappy, hopeful scavenger of The Force Awakens. Another claims he blasted the script for “pandering” to modern trends—possibly its rumored focus on diverse Jedi or social themes—saying Ridley “should’ve fought harder” to protect Rey’s core. A third source paints a broader tirade, with Lucas railing against Disney’s handling of his saga, using Ridley as a scapegoat for a film he sees as “soulless.” Without confirmed quotes, the exact words remain speculative, but the story has exploded online, trending #LucasVsRidley and fueling memes of Lucas as a Sith Lord scorned.
Ridley’s defenders argue she’s caught in an impossible spot. The British actress, who rose from obscurity to global fame with The Force Awakens’ $2.07 billion haul, has navigated fan vitriol before—some called Rey a “Mary Sue,” despite her Palpatine lineage reveal in Rise of Skywalker. Her return was a coup for Disney, given her $1 million paycheck and packed slate, including Young Woman and the Sea. Sources say she poured herself into New Jedi Order, training for months to wield Rey’s lightsaber with new ferocity. If Lucas criticized her performance, supporters claim it’s unfair—she’s delivering what the script and director demanded, not rewriting the galaxy herself.
Lucas’ allies, though, see his outburst as justified passion. Fans on X recall his 1999 Phantom Menace screening, where he admitted going “too far” with its disjointed climax, suggesting he’s blunt when his vision’s at stake. They argue Ridley, as the film’s face, should’ve pushed back against creative choices that stray from Star Wars’ mythic roots—like The Acolyte’s witch coven, which Lucas reportedly disliked. Some even speculate he’s frustrated with her public support for the sequel trilogy’s divisive choices, like Rey’s heritage flip-flops, which clashed with his original Force concepts.
Lucas’ Complicated Legacy
Lucas’ reaction can’t be divorced from his Star Wars history. The original trilogy—A New Hope ($775 million adjusted), Empire Strikes Back ($549 million), Return of the Jedi ($475 million)—set a gold standard, blending universal myths with groundbreaking effects. His prequels, starting with The Phantom Menace ($1.04 billion), were divisive, panned for wooden dialogue (55% Rotten Tomatoes) but later embraced by millennials for their ambition. Selling Lucasfilm freed Lucas from studio stress but left him sidelined as Disney charted a new course, often ignoring his sequel ideas, which favored cosmic Force lore over nostalgia.
His recent moves—like backing Andor’s 94% Rotten Tomatoes run or reportedly developing an “anti-woke” Underworld series—suggest a creator itching to reclaim influence. The Rey movie, with its high stakes and feminist framing, may have felt like a final straw, especially if its early cut leaned into trends Lucas sees as betraying his saga’s heart. Critics of his outburst argue he’s out of touch, projecting prequel-era gripes onto Ridley, a performer, not a decision-maker. At 80, with a $7 billion net worth, they say he should mentor, not berate, the next generation.
Ridley’s Burden: Hero or Scapegoat?
Ridley’s role in this drama mirrors Zegler’s Snow White saga, where outspokenness drew fire. Unlike Zegler, Ridley’s kept a lower profile, dodging political lightning rods save for defending Rey’s strength against “sexist” critiques. Her New Jedi Order prep—mastering stunts, mentoring young Jedi actors—shows commitment, yet Lucas’ alleged attack casts her as a symbol of Disney’s missteps. Her performance, if misaligned with his vision, isn’t her fault alone; directors and writers shape the final product. Yet as Rey, she’s the lightning rod, much as Zegler was for Snow White’s dwarfs or Mackie for Captain America’s politics.
Fans are split. Some cheer Lucas for “calling out” a film they fear will flop like The Acolyte, citing Rise of Skywalker’s $515 million domestic drop from Force Awakens’ $936 million. Others rally behind Ridley, trending #StandWithDaisy and praising her resilience against toxic fandom. Her Chaos Walking ($26 million) flopped, but Murder on the Orient Express ($352 million) proved her draw. If New Jedi Order stumbles, her career—bolstered by Evita buzz—will likely endure, but the sting of Lucas’ words could linger.
Disney’s High-Wire Act
Disney’s in a bind. Star Wars’ theatrical gap since Rise of Skywalker—coupled with streaming hits (Mandalorian’s 1.2 million premiere households) and misses (Ahsoka’s 1 million)—puts pressure on New Jedi Order to deliver. Its $300 million budget demands $750 million to profit, a tall order after Captain America: Brave New World’s $412.8 million fumble. Lucas’ outburst, even if private, risks public fallout, alienating fans who revere him or Ridley’s younger base. Kennedy, already under fire for The Acolyte, faces scrutiny for inviting Lucas’ input only to face his wrath, echoing Solo’s $393 million stumble when directors clashed.
The studio’s response is likely silence, letting post-production smooth the film’s edges. Obaid-Chinoy’s vision—teased as “emotionally charged”—must balance Lucas’ mythic roots with modern appeal, like Rogue One’s $1.06 billion haul. Cutting divisive elements, as Disney did with Lilo & Stitch’s Pleakley subplot, could help, but sidelining Lucas risks fueling “Disney ruined Star Wars” cries, especially after Mufasa’s $450 million underperformance.
The Cultural Fault Line
This clash mirrors broader Hollywood tensions. Star Wars has always been political—A New Hope critiqued imperialism, Empire explored redemption—yet today’s culture wars amplify every choice. Lucas’ “anti-woke” leanings, seen in his rumored Underworld project, clash with Ridley’s generation, raised on inclusive heroes like Black Panther ($1.34 billion). His outburst taps into fan divides, with some decrying Disney’s “agenda” and others defending Rey’s evolution as organic. Like Zegler’s Lilo & Stitch rant, Ridley’s caught in a no-win debate, where representation and legacy collide.
Social media fans the flames. #LucasIsRight pits purists against #ReyRules supporters, echoing Captain America’s backlash over its Black lead. Star Wars thrives on universal stakes, but New Jedi Order’s feminist bent risks shrinking its reach if it leans too preachy, per The Acolyte’s fate. Lucas’ vision—archetypes over ideology—could guide it, but his delivery may burn bridges.
What’s Next?
Lucas, at 80, risks little career-wise—his $4.8 billion Star Wars gross secures his legend. An apology to Ridley could mend fences, but his history suggests he’ll stand firm, focusing on Underworld or philanthropy. Ridley’s path is tougher. Her New Jedi Order performance must win over skeptics, with Young Woman and the Sea’s buzz as backup. A hit could net $1 billion, like Force Awakens; a flop might echo Solo. Disney, bleeding from Snow White and Mufasa, needs Lilo & Stitch’s $600 million potential to tide it over until 2027. Aligning Lucas’ input with Obaid-Chinoy’s vision is key, lest New Jedi Order joins Captain America’s $180 million grave.
Conclusion: A Disturbance in the Force
George Lucas’ reported explosion at Daisy Ridley after the New Jedi Order screening is a galactic gut-punch—a creator’s cry against a saga slipping from his grasp. Whether he’s right about Rey’s path or unfairly targeting Ridley, the clash exposes Star Wars’ fragile state. As Disney navigates this asteroid field, Ridley stands as both hero and scapegoat, carrying a galaxy’s hopes. The Force may be strong, but this drama proves even Jedi face trials no lightsaber can cut through.
