In response to recent rumors about her retirement, Kathleen Kennedy has clarified her plans regarding her role at Lucasfilm and the future of Star Wars. Contrary to reports suggesting she would step down by 2025, Kennedy emphatically stated that she has no intention of retiring from filmmaking. Instead, she is focusing on succession planning and producing upcoming Star Wars projects. Kennedy also provided insights into new films being developed by Shawn Levy and Simon Kinberg, both set in different eras of the Star Wars universe.
Setting the Record Straight on Retirement Rumors
Kennedy addressed the speculation surrounding her departure from Lucasfilm with a clear statement: she will not be retiring anytime soon. She emphasized her lifelong commitment to filmmaking, stating that it is an integral part of her identity. The discussions currently underway are centered around succession planning rather than her exit. Kennedy explained that conversations with executives have been ongoing for some time to ensure a smooth transition when the time comes.
The notion of retirement was firmly dismissed by Kennedy during an interview. She highlighted her dedication to the craft of filmmaking and her passion for storytelling. Instead of stepping away, she is actively involved in shaping the future of Star Wars through strategic planning and production oversight. This includes preparing for a seamless leadership change within the next few months to a year. Kennedy’s involvement will continue as she focuses on delivering high-quality content to audiences worldwide.
New Directions for Star Wars Under Kennedy's Guidance
Kennedy shared details about upcoming Star Wars projects, including collaborations with directors Shawn Levy and Simon Kinberg. These ventures represent fresh narratives and timelines, expanding the beloved franchise beyond its established saga. Kennedy’s emphasis on innovation and exploration promises fans a new era of storytelling within the Star Wars universe.
Levy’s film, set several years after the Skywalker Saga, introduces primarily new characters while allowing for potential cameos from familiar faces. Kennedy described this project as an opportunity to explore uncharted territories within the Star Wars timeline. Additionally, Kinberg’s trilogy marks the next major iteration, advancing the storyline past the events of the sequel trilogy. Both projects are progressing rapidly, with Kinberg’s work expected to reach the scripting stage shortly. Kennedy’s vision ensures that these new films will captivate existing fans while attracting a broader audience to the rich tapestry of Star Wars.
A Pioneer in Both Fashion and Film: Redefining Creative Boundaries
From Runway to Red Carpet: A Designer’s Unprecedented Journey
Anthony Vaccarello, at 43, has achieved what few can claim: success in both fashion design and film production. As the creative force behind Saint Laurent, he will soon walk the red carpet at the Academy Awards, not just as a spectator but as a nominated producer. His involvement with Emilia Pérez, a film that has garnered 13 Oscar nominations, marks a significant milestone for the brand’s fledgling film studio.Vaccarello’s dual role is unprecedented. While many designers have dabbled in film costumes, few have ventured into full-fledged production. His decision to produce films aligns with his vision of Saint Laurent as more than just a fashion house but a platform for storytelling. The Cannes Film Festival provided an early glimpse of this ambition when Saint Laurent Productions debuted three auteur-driven films, including Emilia Pérez, which won multiple accolades.The choice to support unconventional projects reflects Vaccarello’s willingness to take risks. Despite the inherent challenges, he remains steadfast in his belief that these ventures are worth the investment. “I found it rewarding to bet on something that feels right, even if it seemed unusual,” he explains. This approach has already paid off, earning him and the brand recognition in Hollywood circles.Creative Synergy: Fashion and Film as Complementary Art Forms
For Vaccarello, the intersection of fashion and film is not merely coincidental but deeply intertwined. His work on costumes for films like Emilia Pérez showcases how clothing can enhance a character’s presence on screen. Selena Gomez’s fur coat and Zoe Saldana’s red power suit are prime examples of how attire can amplify an actor’s performance, embodying the confident sensuality synonymous with Saint Laurent.The collaboration between directors and designers is crucial in bringing these visions to life. Each film presents unique demands, requiring tailored solutions. Vaccarello’s ability to adapt his designs to the narrative needs of each scene demonstrates his versatility. “Directors’ visions vary from scene to scene. That’s critical for me,” he notes. This synergy ensures that the costumes become integral to the storytelling process, enhancing the overall impact of the film.Moreover, Vaccarello’s respect for established directors is evident in his choice of collaborators. Featuring cinematic legends such as Pedro Almodóvar and David Cronenberg in Saint Laurent’s advertising campaigns underscores his reverence for their contributions to film. These partnerships serve as a bridge between fashion and cinema, enriching both industries.A Modest Visionary: Letting Creativity Speak Volumes
Despite his growing influence in Hollywood, Vaccarello remains modest and introspective. Known for his quiet confidence, he prefers to let his work speak for itself. This humility sets him apart from many in the industry, where bold personalities often dominate. “That’s just how I am,” he says. “I prefer to let my creativity tell the story.”His reluctance to seek the spotlight extends to red carpet appearances. While he acknowledges the importance of celebrating achievements, he remains grounded in his commitment to creativity. “It’s not my nature. If another film we co-produce is up for 13 Oscars, of course I’ll be there to celebrate with cast and crew who worked so hard on it. Otherwise, you won’t see me on the red carpet — what for?” This stance reinforces his dedication to the art rather than the fame.As he prepares for the upcoming Fall 2025 collection, Vaccarello continues to push boundaries. His vision for Saint Laurent encompasses not only fashion but also film, creating a multifaceted brand that resonates with audiences worldwide. The future holds endless possibilities, driven by his unwavering passion for creativity and storytelling.The anticipation for the 2025 Oscars is building up, but film enthusiasts have already witnessed the unveiling of the worst in cinema this year through the Razzie Awards. Among the notable failures, Sony's "Madame Web" emerged as a major contender, securing three awards including Worst Picture. Starring Dakota Johnson, who also won Worst Actress, and suffering from a poorly received screenplay, the film became a prime example of what went wrong in Hollywood. Meanwhile, Jerry Seinfeld’s directorial debut "Unfrosted" was not spared either, earning Worst Actor for Seinfeld himself and Worst Supporting Actress for Amy Schumer. The event also highlighted other films that garnered multiple nominations and wins, such as "Joker: Folie à Deux," "Megalopolis," and "Reagan." Despite the negative accolades, some figures like Francis Ford Coppola celebrated their Razzie wins with pride, while Pamela Anderson received a special Redeemer Award for her career resurgence.
One of the most talked-about films at the Razzies was Sony's "Madame Web," which dominated the ceremony by winning three categories. This critically panned box-office failure starred Dakota Johnson, who took home the Worst Actress award alongside the Worst Screenplay honor. Johnson had previously expressed her dissatisfaction with the project, noting significant changes in the script during production. In an interview with Bustle, she described it as an unusual experience, acknowledging that she probably wouldn't repeat it. Her candid reflections on the film industry shed light on how projects can drastically change from initial expectations to final outcomes.
Another noteworthy figure at the Razzies was Jerry Seinfeld, who directed and co-wrote "Unfrosted," a Netflix production that earned him the Worst Actor award. His co-star Amy Schumer also received recognition for Worst Supporting Actress. Seinfeld's venture into filmmaking highlighted the challenges faced by established personalities when transitioning to new roles within the industry. The film's reception underscored the importance of balancing creative vision with audience expectations, especially in high-profile streaming platforms like Netflix.
Francis Ford Coppola, a legendary director known for classics like "The Godfather," surprisingly found himself among the Razzie winners this year. His epic "Megalopolis" secured two awards, including Worst Director. Coppola embraced the recognition, viewing it as a badge of honor rather than a setback. He defended his unconventional approach, stating that he chose not to follow mainstream trends in contemporary moviemaking. His defiant stance reflected a broader debate about artistic integrity versus commercial success in the film industry.
Pamela Anderson's journey from a former Razzie winner to a celebrated actress marked a positive note at the ceremony. She received the Razzie Redeemer Award for her critical acclaim and award recognition in "The Last Showgirl." Anderson's career transformation demonstrated the potential for redemption and growth in the entertainment world. Her story serves as an inspiration for those who face setbacks early in their careers but continue to pursue excellence.
The 2025 Razzie Awards showcased a mix of disappointments and triumphs. While films like "Madame Web" and "Unfrosted" were criticized for their shortcomings, others like "Megalopolis" sparked discussions about the balance between artistic expression and public reception. The event also highlighted the resilience of individuals like Pamela Anderson, proving that even in the face of criticism, there is always room for personal and professional growth. The Razzies serve as both a cautionary tale and a platform for reflection on the evolving landscape of cinema.