Its $176 million debut, though massive, ranks as the lowest opening of the most recent three films in the saga, falling far below 2015's "The Force Awakens" ($248 million) and 2017's "The Last Jedi" ($220 million). Enthusiasm for the series is beginning to flag (2019's spin-off "Solo: A Star Wars Story" did the impossible, becoming the first Star Wars movie to lose money). Reviews were lackluster and it's unclear what Star Wars' future will be on the big screen... Disney, the company that bought the rights to the space opera with its $4 billion purchase of Lucasfilm, once envisioned something different for "Star Wars." It believed that the mythology of virtuous Jedi warriors and evil Sith lords was so rich it could spawn a movie a year, making it analogous to Marvel, another in-house purveyor of global blockbusters. Faced with diminishing box office returns, it has been forced to acknowledge that it may have done too much, too fast. Even its ambitious Disneyland theme park, Star Wars: Galaxy's Edge, has been a disappointment, with attendance far lower than expected.
The one, recent bright spot for Star Wars lovers has been "The Mandalorian," a Disney Plus series that follows a planet-hopping bounty hunter and a co-star in Baby Yoda that boasts a face cute enough to launch a thousand memes. Buoyed by that success, Lucasfilm is moving along with other Disney Plus shows set in a galaxy far, far away, including one featuring Ewan McGregor reprising his role as Obi-Wan Kenobi. This flurry of activity indicates that Star Wars' future may not lie in cinemas. It may be in streaming.
If that's the case, "Star Wars" is pivoting along with the rest of the movie business.
The Los Angeles Times seems to agree, noting that this year 10 movies accounted for 38% of the total box office "that's dominated by intellectual-property-powered blockbusters, at the expense of almost everything else."
As the studios become increasingly risk-averse, much of the market for midbudget comedies, dramas and rom-coms has migrated to streaming services such as Netflix. Studios are loath to risk the embarrassment of a flop, and streamers are more than happy to use such content to draw subscribers...
"The studios are more corporate-driven and guided by marketing and bean counters than ever before, and the ability to invest in originality is all moving toward streaming," said Rick Cohen, who runs the five-screen Transit Drive-In in Lockport, N.Y. "But they still have $200 million to throw at 'Dark Phoenix.' You could have made 10 original movies for that budget."
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