“May the Force be with you… but is the money?”
Disney+ is reportedly TOO BROKE to keep pumping out Star Wars and Marvel shows! 😱 Rumors are swirling that Kathleen Kennedy’s vision for the galaxy far, far away is crumbling under budget cuts, with fans calling her work “fanfiction gone wrong.” X is ablaze with claims that flops like The Acolyte and Ahsoka have drained the coffers,
Dive in and uncover the truth for yourself!
The Walt Disney Company, a titan of entertainment, has long been synonymous with blockbuster franchises like Star Wars and Marvel. Its streaming platform, Disney+, launched in 2019 with high hopes of dominating the streaming wars, fueled by the promise of endless content from these beloved universes. However, recent buzz on X and across the web suggests Disney+ is facing a financial crisis, with claims that the platform is “too broke” to sustain its ambitious slate of Star Wars and Marvel projects. At the center of the storm is Kathleen Kennedy, president of Lucasfilm, whose creative direction has been labeled “fanfiction” by detractors. Are these rumors grounded in reality, or are they the latest chapter in the ongoing saga of fandom discontent? Let’s explore the financial state of Disney+, Kennedy’s role in Star Wars, and what the future holds for these iconic franchises.
The “Too Broke” Rumor: Fact or Fandom Hyperbole?
The rumor that Disney+ is running out of funds for Star Wars and Marvel content gained traction in early June 2025, sparked by posts on X and amplified by outlets like Cosmic Book News and Bleeding Fool. These sources cited Andor director Tony Gilroy, who allegedly heard from a Disney insider that “streaming is dead” due to the underperformance of big-budget shows like The Acolyte and Ahsoka. Posts on X claimed Disney’s streaming division is hemorrhaging money, with one user stating, “Disney+ has Disney in so much debt… Star Wars other than Andor and Mando has flopped.” The narrative paints a grim picture: a platform buckling under the weight of costly productions and waning subscriber interest.
To assess the rumor’s validity, let’s examine Disney’s financial landscape. Disney+ has been a cornerstone of the company’s direct-to-consumer strategy, surpassing 100 million subscribers by 2021 and continuing to grow. However, the streaming division has faced challenges. In 2023, Disney reported significant losses in its streaming segment, driven by high production costs and marketing expenses. Star Wars and Marvel shows, with budgets often exceeding $100 million per season—The Mandalorian reportedly cost $15 million per episode—have contributed to these costs. While The Mandalorian and WandaVision were early hits, recent projects like The Acolyte and Ahsoka have received mixed reception, with some fans criticizing their storytelling and others praising their diversity and ambition.
Despite these challenges, the claim that Disney+ is “too broke” appears exaggerated. Disney’s overall revenue remains robust, bolstered by its theme parks, theatrical releases, and media networks. In 2024, CEO Bob Iger announced cost-cutting measures, including a $5.5 billion reduction in spending, which affected Marvel’s output, slowing down its Disney+ slate. However, Disney has not signaled a complete halt to Star Wars or Marvel content. Instead, the company is prioritizing quality over quantity, with Iger emphasizing “fewer, better” projects. Recent successes, such as Andor Season 2 and Loki Season 2, suggest Disney is still investing in its flagship franchises, albeit more selectively.
The rumor may stem from fan frustration rather than hard evidence. X posts often amplify negative sentiment, with users quick to blame Disney’s struggles on specific projects or executives. The lack of concrete statements from Disney or Gilroy himself—coupled with the speculative nature of the cited sources—suggests this narrative is more clickbait than reality. Still, the rumor highlights real concerns about the sustainability of Disney+’s high-cost model in a competitive streaming market.
Kathleen Kennedy’s Tenure: Visionary or “Fanfiction” Failure?
Kathleen Kennedy, who became president of Lucasfilm in 2012 after Disney’s $4 billion acquisition, is a polarizing figure. A veteran producer with credits like E.T., Jurassic Park, and Lincoln, Kennedy was handpicked by George Lucas to steward Star Wars. Her tenure has seen undeniable successes: The Force Awakens grossed over $2 billion, Rogue One was a critical and commercial hit, and The Mandalorian became a cultural phenomenon. Yet, her era has also been marked by setbacks, including the divisive The Last Jedi, the underwhelming Solo, and a string of announced films that never materialized.
Critics on X and fan forums have labeled Kennedy’s work “fanfiction,” accusing her of prioritizing diversity and modern sensibilities over the franchise’s established lore. The term “fanfiction” implies a lack of authenticity, suggesting Kennedy’s projects deviate from the spirit of Lucas’ original vision. For example, The Acolyte, set in the High Republic era, introduced new characters and a diverse cast but faced backlash for its pacing and perceived disconnect from core Star Wars themes. Similarly, Ahsoka was praised for expanding Dave Filoni’s animated universe but criticized by some for catering to niche audiences familiar with Rebels and The Clone Wars.
Kennedy’s supporters, however, argue she’s revitalized Star Wars for a new generation. The sequel trilogy, despite its polarizing finale, grossed $4.5 billion combined, a financial triumph by any measure. Her push for inclusivity—casting actors like Daisy Ridley, John Boyega, and Rosario Dawson—has broadened the franchise’s appeal. Shows like Andor have earned critical acclaim for their mature storytelling, proving Star Wars can tackle complex themes. Kennedy’s collaboration with creators like Jon Favreau, Dave Filoni, and Tony Gilroy has also expanded the universe across TV, with Disney+ hosting a robust slate of series, including Obi-Wan Kenobi, The Book of Boba Fett, and the upcoming Starfighter starring Ryan Gosling.
The “fanfiction” critique often ignores the challenges Kennedy inherited. Lucas’ prequels faced similar fan backlash, and the pressure to satisfy a diverse, vocal fandom while meeting Disney’s financial expectations is immense. Kennedy has navigated creative misfires, such as the Solo directorial shakeup and the cancellation of projects like Patty Jenkins’ Rogue Squadron, but these reflect the iterative nature of filmmaking, not a lack of vision. Her contract renewals in 2018, 2021, and 2024, along with Disney CEO Bob Chapek’s 2021 endorsement, indicate the company values her leadership, despite online petitions calling for her removal.
The Financial and Creative Path Forward
If Disney+ is indeed tightening its purse strings, what does this mean for Star Wars and Marvel? For Star Wars, Kennedy has outlined a cinematic future, with films like Star Wars: Starfighter (2027) and a New Jedi Order project in development. On TV, Andor Season 2 and Skeleton Crew are already in the pipeline, suggesting continued investment, though perhaps with leaner budgets. Marvel, under Kevin Feige, is similarly scaling back, focusing on high-impact projects like Deadpool & Wolverine and upcoming Avengers films rather than flooding Disney+ with series.
The streaming landscape has shifted since Disney+’s launch. Competitors like Netflix and Amazon have deeper pockets, and subscriber fatigue is real. Disney’s response—cutting costs while leveraging its strongest brands—makes sense, but it requires careful execution. Star Wars and Marvel remain crown jewels, with global fanbases and merchandising potential that dwarf most franchises. A single hit, like The Mandalorian or Spider-Man: No Way Home, can offset multiple flops, making a complete withdrawal from these properties unlikely.
Kennedy’s role in this equation is pivotal. Rumors of her departure have persisted for years, with a 2025 Puck report claiming she’d step down by year’s end, only for Kennedy to deny retirement in a Deadline interview, stating, “I will never retire from movies.” Potential successors like Dave Filoni and Carrie Beck are being discussed, but Kennedy’s experience and Lucas’ endorsement make her a stabilizing force. Her ability to balance creative ambition with financial realities will shape Star Wars’ trajectory.
Conclusion: A Galaxy Far, Far Away Persists
The “Disney+ is too broke” rumor reflects genuine concerns about streaming economics but overstates the crisis. Disney’s financial challenges are real, but the company’s commitment to Star Wars and Marvel remains strong, driven by their cultural and commercial value. Kathleen Kennedy, for all the criticism, has steered Lucasfilm through a transformative decade, delivering hits alongside missteps. The “fanfiction” label is a reductive jab, ignoring the complexity of managing a franchise with millions of passionate fans.
As Disney+ navigates its next chapter, the focus will likely shift to sustainable storytelling—fewer projects, higher quality, and a nod to what made Star Wars and Marvel enduring in the first place. Fans may debate Kennedy’s legacy, but her impact is undeniable, from Baby Yoda’s global takeover to Andor’s critical acclaim. For now, the Force remains strong with Disney, and the galaxy far, far away is far from broke.
