Disney+’s widely publicized Star Wars series, ‘Acolyte’, will reportedly not return for a second season as per sources close to Deadline. Spearheaded by Leslye Headland, the series failed to generate sufficient traction despite eliciting notable attention for its LGBTQ-inclusive narrative and a female-led perspective on the Sith’s universe. The show’s debut on June 4, accompanied by two episodes, garnered 4.8 million views, backed by an enthusiastic press campaign.
However, despite this strong start, the series experienced a decrease in viewer engagement in subsequent weeks, dropping from its initial ratings and leading to a decline in its anticipated popularity. By the third week, ‘Acolyte’ seemingly vanished from the Top 10 list, indicating a significant drop in its viewership. The decisive downward plunge in ratings resulted in a less-than-expected overall performance for the series.
The show gained some traction during its final week, marginally clawing its way back into the Top 10, impressively amassing a total viewing time of 335 million minutes. Yet, this achievement was overshadowed by the grim reality that such a finale viewership figure is believed to be the lowest ever recorded for a Star Wars series, signaling the end of the road for ‘Acolyte’.
Previously, Headland debated that the outlook for her show would break away from the thematic boundaries set by acclaimed productions like ‘The Mandalorian’ or ‘Andor’. She articulated a unique conceptual premise for the series that would examine the institution of the Jedi from a new perspective, only to face a lukewarm reception from the audience.
‘Acolyte’ was conceptualized as a critique of the power concentrated within the Jedi order. Headland explained her perspective, saying that the Jedi represented a powerful, albeit benevolent, entity, especially in the period prior to the catastrophic events of the Original Trilogy. Contrary to their endangered status in the Original Trilogy, Jedi were depicted more as an overpowering entity in the prequels, akin to their portrayal in the ‘Phantom Menace’.
She further elaborated on the interesting dynamic between the Jedi and the Sith across different eras. In the prequel trilogy, the Jedi held the upper hand, while in the original trilogy, the Empire gained the upper hand over the Jedi. For Headland, this shift inspired her to explore what being an underdog might mean, even if it entailed rooting for the antagonists.
Prior to the launch of the ‘Acolyte’, Headland described her vision for the series as being ‘coded queer’, akin to the narrative approach taken in the popular animated film, Frozen. She hoped to recreate an experience like the one she had while watching ‘Frozen’, a transformative experience she claimed had a profound impact on her.
This was not so much about directly projecting a certain demographic, but rather an exploration of alternate definitions of love and villainy, particularly in a fairy tale context. She connected with the way the creators downplayed the typical villain archetype and, instead, highlighted the deep bonding between two sisters surpassing the constructs of traditional heterosexual love.
Headland reflected on how such stories could have been instrumental in shaping her perception as a queer individual growing up. Recreating similar narratives, she dreamt of generating content relatable for young people grappling with their identities, crafting stories that parents would allow their children to watch while remaining meaningful for the children navigating their identities.
Headland openly discussed the series’ potential to shape viewer perceptions around identity, diversity, and representation in 2021. This was not just about projecting stories on screen, but also about offering an honest representation of her experiences as a queer woman. Despite the premature cancellation, the attempt in itself was poised to bring in a new wave of discussions around inclusivity and representation.
In retrospect, ‘Acolyte’ was expected to challenge the status quo by introducing narratives teeming with diversity and representation. While it may have fallen short on ratings and viewer engagement, it could instigate a conversation about the need to diversify storytelling in an industry marked by monotonous narratives.
The series, despite its cancellation, leaves a lasting impact with its significant marks on the cultural landscape. By daring to innovate within the well-established Star Wars canon, it will remain a symbol for future content creators who are eager to broaden the scope of representation in their stories.
As the industry continues to evolve, productions like the ‘Acolyte’ serve as crucial benchmarks. They remind us of the necessity for diversity in storytelling and the potential pitfalls of straying too far from existing canon without ensuring sufficient open-mindedness among the audience. Despite its shortcomings, ‘Acolyte’ has set the stage for a broader dynamic in the Star Wars universe, pushing boundaries in storytelling and representation.