For the first time since Disney reshaped Star Wars into a multi-platform saga, Lucasfilm is entering 2026 with a theatrical release date locked, multiple films publicly announced, and a Disney+ slate that’s finally slowing down enough to be strategically curated. After years of shifting calendars and creative resets, the studio has drawn a clearer line between what is officially happening and what remains aspirational. That distinction matters more than ever as Star Wars prepares to move beyond its streaming-first era and back toward event filmmaking.
The anchor point is The Mandalorian & Grogu, officially dated for May 22, 2026 and positioned as the franchise’s return to theaters after a seven-year absence. Directed by Jon Favreau and produced by Lucasfilm’s current creative brain trust, the film is not only confirmed but actively in production, making it the most concrete piece of Star Wars’ future. Around it sit several announced films at varying stages of development, including Sharmeen Obaid-Chinoy’s Rey-centered New Jedi Order story, James Mangold’s Dawn of the Jedi origin epic, Dave Filoni’s crossover finale for the Mandalorian-era shows, and Simon Kinberg’s newly announced trilogy intended to chart a fresh saga forward.
On the television side, Lucasfilm has been more selective with confirmations. Ahsoka Season 2 is officially happening and expected to bridge directly into Filoni’s planned theatrical event, while other Disney+ projects remain unannounced or quietly shelved. This article breaks down every Star Wars movie and series Lucasfilm has formally confirmed for 2026 and beyond, separating studio statements from industry reporting, and placing each project within the larger galactic timeline so fans can see not just what’s coming—but why it matters.
The Theatrical Future of Star Wars: All Announced Feature Films, Directors, and Target Release Windows
After nearly a decade defined by sequels, spin-offs, and then an abrupt theatrical pause, Lucasfilm’s renewed commitment to cinema is no longer theoretical. As of now, the studio has one Star Wars movie dated, several others publicly announced with directors attached, and a clear intention to space releases farther apart to restore the sense of occasion the franchise once commanded. What follows is a project-by-project breakdown of every officially announced Star Wars feature film slated for 2026 and beyond, with clear distinctions between what is locked, what is actively developing, and what remains fluid.
The Mandalorian & Grogu (May 22, 2026)
The Mandalorian & Grogu is the linchpin of Star Wars’ theatrical comeback and the only film with a firm release date. Directed by Jon Favreau and produced by Kathleen Kennedy, Dave Filoni, and Favreau himself, the movie is positioned as a direct continuation of the Disney+ era rather than a clean break from it. Its May 22, 2026 release places Star Wars back in its traditional early-summer corridor, seven years after The Rise of Skywalker closed out the sequel trilogy.
Crucially, this film is not being framed as “The Mandalorian: The Movie,” but as a broader, more accessible event designed to welcome casual audiences who may not have followed every streaming chapter. Set during the New Republic era, it draws from the narrative groundwork laid across The Mandalorian, The Book of Boba Fett, and Ahsoka, while functioning as a standalone theatrical experience. Of all upcoming projects, this is the most concrete and least speculative.
The New Jedi Order Film (Director: Sharmeen Obaid-Chinoy)
First unveiled at Star Wars Celebration 2023, the Rey-centered New Jedi Order film marks Lucasfilm’s most explicit step forward on the timeline. Directed by Sharmeen Obaid-Chinoy and set roughly 15 years after The Rise of Skywalker, the story follows Daisy Ridley’s Rey as she attempts to rebuild the Jedi Order in a post–Final Order galaxy. Lucasfilm has repeatedly emphasized that this film represents a new era rather than a sequel trilogy epilogue.
While the project remains officially announced, its development has been more visible than settled. Writers have cycled through as the story is refined, and no release window has been confirmed. Still, Lucasfilm continues to speak about the film as a priority, and Ridley’s ongoing involvement signals that the studio is committed to exploring the future of the Jedi rather than retreating from it.
Dawn of the Jedi (Director: James Mangold)
James Mangold’s Star Wars film occupies the opposite end of the timeline spectrum. Titled informally as Dawn of the Jedi, the project is set thousands of years before the Skywalker Saga and focuses on the origins of the Force and the first Jedi. Mangold has described it as a biblical-style epic, tonally distinct from the space opera rhythms most associated with Star Wars.
This film is significant not just for its setting, but for what it represents strategically. By moving so far back in time, Lucasfilm is carving out creative space free from established canon entanglements. The project remains in development with no target release date, but it is one of the studio’s clearest statements about expanding Star Wars beyond familiar narrative borders.
Dave Filoni’s Mandalorian-Era Event Film
Dave Filoni’s long-rumored crossover movie was formally announced alongside the Mandalorian-era Disney+ slate. Designed to serve as a theatrical culmination of storylines from The Mandalorian, Ahsoka, and related series, the film is intended as a payoff for viewers who have followed the interconnected shows since 2019. Filoni is set to direct, with Jon Favreau producing.
Unlike The Mandalorian & Grogu, this project is not dated and is clearly dependent on the completion of key television arcs, including Ahsoka Season 2. Its placement on the timeline aligns with the rise of Grand Admiral Thrawn and the growing conflict between the New Republic and Imperial remnants. While officially announced, it remains several years away from release.
Simon Kinberg’s New Star Wars Trilogy
The most forward-looking announcement in Lucasfilm’s theatrical slate is a newly revealed trilogy overseen by Simon Kinberg. Unlike previously announced standalone films, this project is explicitly designed to chart a new saga, potentially introducing a fresh era, characters, and overarching narrative separate from the Skywalker lineage.
Details remain intentionally sparse. No directors beyond Kinberg’s role, no time period, and no release targets have been disclosed. What matters is the intent: Lucasfilm is once again thinking in trilogies, signaling a desire to rebuild Star Wars as a long-form theatrical experience rather than a series of isolated experiments.
Projects Without Dates: Separating Announcements From Ambiguity
Several Star Wars films remain officially announced but undefined, most notably Taika Waititi’s long-gestating standalone project. Lucasfilm continues to acknowledge the film’s existence, though development has been slow and no timeline has been suggested. Its status underscores the studio’s shift away from over-promising dates before stories are ready.
By contrast, previously discussed projects such as Rian Johnson’s trilogy have not been reaffirmed in recent years and are best considered dormant rather than active. Lucasfilm’s current theatrical roadmap is narrower, more deliberate, and notably quieter—an intentional recalibration after years of public schedule reshuffling.
Disney+ Expansion Plans: Live-Action Series Confirmed to Continue the Saga Post-2026
While Lucasfilm’s theatrical slate remains deliberately narrow, Disney+ continues to function as Star Wars’ primary long-form storytelling engine. The studio has been clear that live-action series will remain central to the franchise’s future beyond 2026, even as it tightens its approach to public announcements. What follows is not a flood of new titles, but a more measured continuation of arcs already in motion.
Ahsoka Season 2 and the New Republic Endgame
The most significant confirmed live-action continuation is Ahsoka Season 2. Officially announced and actively developed, the series is expected to arrive after 2026, serving as a critical bridge between the Disney+ slate and Dave Filoni’s forthcoming crossover film.
Season 2 will continue Ahsoka Tano’s storyline in the distant galaxy introduced in the first season, while deepening the threat posed by Grand Admiral Thrawn. Its placement in the timeline makes it essential viewing, not just for Ahsoka’s arc, but for the broader New Republic-era narrative that has been unfolding since The Mandalorian debuted.
The Mandalorian’s Future on Television: Unconfirmed but Not Closed
Despite the upcoming theatrical pivot with The Mandalorian & Grogu, Lucasfilm has not officially announced a fourth season of The Mandalorian. However, the studio has also stopped short of declaring the series finished, leaving its long-term future intentionally open-ended.
Any continuation on Disney+ would likely depend on how the feature film performs and how the interconnected storylines resolve in Ahsoka Season 2. For now, a post-2026 Mandalorian series remains plausible but unconfirmed, and should be treated as a possibility rather than a plan.
What Lucasfilm Has Not Announced—By Design
Notably absent are concrete announcements for entirely new live-action Star Wars series set beyond 2026. Lucasfilm leadership has emphasized a focus on quality over quantity, moving away from the rapid-fire greenlights that defined the early Disney+ years.
This restraint appears intentional. Rather than previewing multiple future shows, the studio is allowing existing narratives to reach natural conclusions before committing publicly to what comes next. Any additional live-action series beyond Ahsoka Season 2 remain speculative until formally announced, underscoring a broader shift toward quieter development and fewer long-term promises.
Animated Frontiers: Upcoming Star Wars Animated Projects and Their Place in Canon
While Lucasfilm’s live-action slate has become more selective, animation remains the studio’s most flexible and quietly productive storytelling arena. It is also where canon experimentation, anthology storytelling, and off-continuity creativity can coexist without disrupting the broader release calendar.
As of now, no single flagship animated epic on the scale of The Clone Wars or The Bad Batch has been officially announced for post-2026 release. Instead, Lucasfilm appears committed to a multi-track approach, balancing canon-expanding series with stylistic side projects that exist outside official continuity.
Tales Anthology Series: A Living Canon Framework
The Tales brand, which began with Tales of the Jedi and continued with Tales of the Empire, remains one of Lucasfilm Animation’s most strategically valuable formats. Though no future season has been formally announced, the anthology structure is designed for longevity, allowing Lucasfilm to spotlight legacy characters, unexplored eras, and narrative gaps without committing to long-running series.
Importantly, the Tales installments are fully canon. Any future entries released in 2026 or beyond would likely continue this trend, serving as connective tissue between major events while offering character-focused stories that complement live-action developments rather than compete with them.
Young Jedi Adventures: The Next Generation Continues
Young Jedi Adventures has quietly established itself as a stable pillar of Lucasfilm’s animated output. Set during the High Republic era and targeted at younger viewers, the series is canon and intentionally insulated from the heavier political arcs shaping other Star Wars projects.
While additional seasons beyond its currently released episodes have not been detailed publicly, the show’s success and evergreen premise make continued production beyond 2026 highly likely. Its role is less about advancing franchise-wide storylines and more about cultivating a new generation of Star Wars fans within an officially sanctioned era.
Star Wars: Visions and the Power of Non-Canon Storytelling
Star Wars: Visions remains firmly outside canon, and that is precisely its value. Lucasfilm has confirmed that Visions Volume 3 is in development, continuing the anthology’s tradition of international studios reimagining the galaxy through distinct artistic and cultural lenses.
Beyond that, Lucasfilm has also announced Visions Presents: The Ninth Jedi, the first long-form series spun out of a Visions short. Like its predecessor, it exists outside official continuity, freeing its creators from timeline constraints while expanding the Visions initiative into serialized storytelling.
What’s Not Announced—and What That Signals
Notably absent is confirmation of a new, canon-heavy animated series designed to replace The Bad Batch as a cornerstone narrative. That silence appears deliberate. With the New Republic era being actively shaped in live action, Lucasfilm may be holding animation in reserve to avoid overlap or premature revelations.
For now, animation functions as both laboratory and archive for the franchise. It preserves canon through anthologies, nurtures future audiences, and gives creators space to experiment beyond continuity—positioning Star Wars to evolve without overextending its core timeline.
Mapping the Timeline: How Each Upcoming Movie and Series Fits Into the Star Wars Era Framework
With Lucasfilm now developing projects across nearly every major era of the Star Wars timeline, understanding where each upcoming movie and series actually sits has become essential. What follows is a clear-eyed map of how the officially announced slate for 2026 and beyond fits into the broader chronology, and where reported-but-unconfirmed projects may eventually land.
The Dawn of the Jedi: The Franchise’s Earliest Chapter
James Mangold’s Dawn of the Jedi film is positioned as the earliest story Lucasfilm has ever attempted, set roughly 25,000 years before the Skywalker Saga. This era explores the discovery of the Force and the formation of the Jedi Order, long before the Republic or Sith as audiences know them.
Because of its extreme temporal distance, the film is narratively isolated by design. It functions less as franchise setup and more as myth-making, offering foundational lore without needing to connect to any existing characters or plotlines.
The High Republic Era: A Strategic Pause in Expansion
Despite the High Republic’s success in publishing and animation, no new live-action films or series set in this era have been officially announced beyond existing projects. Young Jedi Adventures continues to occupy this space for younger audiences, while The Acolyte—set at the very end of the era—remains the primary live-action bridge between High Republic storytelling and the fall of the Jedi.
Any additional High Republic screen projects remain speculative for now. Lucasfilm appears content allowing this era to remain largely defined by books, animation, and a single prestige series rather than aggressive expansion.
The Fall of the Republic: No New Additions—for Now
The prequel era, spanning The Phantom Menace through Revenge of the Sith, is notably quiet moving forward. There are currently no confirmed films or Disney+ series set directly within the Clone Wars or immediate pre-Imperial collapse period beyond existing animated canon.
That absence feels intentional. With the era already densely explored across film, television, and animation, Lucasfilm seems focused on moving the franchise forward rather than filling in increasingly narrow gaps.
The Imperial Era: Carefully Contained Storytelling
By the time Andor concludes with its second season in 2025, the Imperial era will effectively be narratively sealed. No additional projects set between Revenge of the Sith and A New Hope have been officially announced for 2026 or beyond.
This restraint signals a creative shift. Lucasfilm appears committed to preserving the weight and cohesion of this era rather than continuing to stack parallel stories into an already crowded timeline.
The New Republic Era: The Franchise’s Current Center of Gravity
The period following Return of the Jedi remains the most active and interconnected era on Lucasfilm’s slate. The Mandalorian & Grogu, slated as the next theatrical Star Wars release in 2026, is firmly anchored here, continuing the story threads established across The Mandalorian, The Book of Boba Fett, and Ahsoka.
Dave Filoni’s as-yet-untitled theatrical film is also set in this era, designed as a culmination event for these interconnected Disney+ series. While plot specifics remain under wraps, the film is expected to address the looming threat of Thrawn and bring the “Mandoverse” storyline to a decisive turning point.
Ahsoka and the Edge of the Known Galaxy
Ahsoka Season 2, officially in development, occupies a unique position within the New Republic era. Its exploration of extragalactic travel and ancient Force traditions pushes the timeline outward without leaving it behind.
Rather than advancing the calendar, Ahsoka expands the mythological and spatial boundaries of the era, setting up narrative possibilities that could ripple far beyond the immediate post-Imperial conflict.
The New Jedi Order Era: Star Wars Moves Forward
Sharmeen Obaid-Chinoy’s New Jedi Order film, starring Daisy Ridley’s Rey, represents the furthest point in the Star Wars timeline currently confirmed. Set approximately 15 years after The Rise of Skywalker, the film centers on Rey’s efforts to rebuild the Jedi Order from the ashes of the Sith’s final defeat.
This project is pivotal not just for its placement, but for what it represents: the first serious attempt to define a post-Skywalker status quo. Unlike previous expansions, this era is not filling in gaps—it is creating the future of the franchise.
Rumored Projects and Floating Timelines
Several previously announced films, including Taika Waititi’s long-gestating Star Wars project, remain officially undated and unplaced within the timeline. While Lucasfilm maintains these films are still in development, no era, cast, or production window has been confirmed.
Until Lucasfilm provides clarity, these projects exist outside the functional timeline map. Their eventual placement—or quiet disappearance—will significantly affect how the next decade of Star Wars storytelling ultimately takes shape.
In Development vs. In Limbo: Projects Reported, Rumored, or Quietly Shelved
As Lucasfilm charts its course beyond 2026, a growing number of Star Wars projects occupy a gray area between active development and quiet uncertainty. Some remain officially acknowledged but undefined, while others persist largely through trades reporting, convention soundbites, or careful non-denials.
This is where the franchise’s future becomes harder to read—not because nothing is happening, but because the signals are intentionally cautious.
Taika Waititi’s Star Wars Film
Taika Waititi’s Star Wars movie remains one of the most high-profile question marks on Lucasfilm’s slate. First announced in 2020, the project has been repeatedly described as “still in development,” with Waititi himself emphasizing that the story must feel genuinely new before moving forward.
No timeline, characters, or era have been confirmed, though it is widely believed to be disconnected from the Skywalker Saga. As of now, the film exists as a creative priority without a production window, making it a long-term possibility rather than an imminent release.
James Mangold’s Dawn of the Jedi Film
James Mangold’s Dawn of the Jedi project, revealed at Star Wars Celebration 2023, is conceptually ambitious and chronologically distant. Set roughly 25,000 years before the films, it would explore the origins of the Force and the first Jedi.
While Mangold has publicly discussed the project’s thematic goals, there have been no casting announcements or production updates since its unveiling. That silence does not signal cancellation, but it does place the film firmly in early development, with a release date well beyond 2026 if it proceeds.
Shawn Levy’s Untitled Star Wars Film
Announced in late 2023, Shawn Levy’s Star Wars movie is one of the newer additions to Lucasfilm’s feature plans. Levy, best known for Stranger Things and Deadpool & Wolverine, is reportedly developing a standalone story not tied to the Skywalker saga.
Details remain minimal, including its era and cast, but the project is considered active internally. Its progress may depend on how Lucasfilm prioritizes theatrical releases following the New Jedi Order and Filoni’s crossover event.
Lando: From Series to Uncertain Future
Originally announced as a Disney+ series centered on Lando Calrissian, the project was later retooled as a feature film with Donald Glover attached to star and co-write. Since that update, official communication has slowed considerably.
Neither a production start nor a release window has been confirmed, leaving the project in an ambiguous middle ground. It remains alive in theory, but its final form—and whether it reaches screens at all—remains unresolved.
Animated Projects and the Post-Bad Batch Gap
With The Bad Batch concluding its run, Lucasfilm Animation has yet to formally announce its next long-form Star Wars series. Historically, new animated projects are revealed closer to release, but the absence of any confirmed successor has fueled speculation.
Rumors continue to circulate about potential Clone Wars-era spin-offs or entirely new animated timelines, though none have been substantiated. For now, animation remains a strategic blank space rather than a confirmed pillar of the 2026-and-beyond slate.
What Silence Really Means at Lucasfilm
In the modern Star Wars era, lack of updates does not automatically equal cancellation. Lucasfilm has increasingly favored flexibility, allowing projects to gestate quietly—or fade out—without formal announcements either way.
For fans, this means distinguishing between what has been officially dated and what exists as creative intent. The galaxy far, far away is still expanding, but not every hyperspace route ultimately leads to launch.
Creative Forces Behind the Camera: Showrunners, Directors, and Writers Shaping the Next Era
If release dates and titles define Lucasfilm’s public roadmap, the creative talent attached to each project offers a clearer picture of where Star Wars is actually headed. In recent years, the studio has quietly shifted toward filmmaker-driven development, prioritizing distinctive voices even when that approach slows momentum.
For the 2026-and-beyond slate, that strategy is more apparent than ever, with veteran Star Wars architects sharing space with filmmakers largely new to the galaxy.
Dave Filoni and the Long Game of Interconnected Storytelling
No individual looms larger over the modern Star Wars timeline than Dave Filoni. As Lucasfilm’s Chief Creative Officer, Filoni oversees continuity across animation, live-action series, and his upcoming theatrical crossover film, which will unite characters from The Mandalorian, Ahsoka, and related Disney+ projects.
Filoni’s strength lies in long-form narrative planning, weaving threads across multiple shows while deepening lore introduced during The Clone Wars and Rebels. His feature film is positioned as a payoff rather than a starting point, making it a culmination of nearly two decades of serialized storytelling rather than a traditional standalone blockbuster.
Sharmeen Obaid-Chinoy and the Post-Skywalker Future
Tasked with directing the New Jedi Order film, Sharmeen Obaid-Chinoy represents one of Lucasfilm’s most deliberate tonal pivots. Known for character-focused, socially grounded storytelling, she is working from a script by Steven Knight, whose résumé includes Peaky Blinders and Eastern Promises.
Set roughly 15 years after The Rise of Skywalker, the film centers on Rey rebuilding the Jedi Order, but its creative team suggests a more introspective take on legacy and leadership. While the project has faced scheduling shifts, it remains the clearest example of Lucasfilm’s intent to move beyond nostalgia-driven storytelling.
James Mangold and the Mythic Origins of the Jedi
James Mangold’s Dawn of the Jedi film occupies the opposite end of the timeline spectrum. Set thousands of years before the Skywalker saga, the project is described as a biblical-scale origin story exploring the first users of the Force.
Mangold, coming off Indiana Jones and the Dial of Destiny, brings a classical, character-driven sensibility to epic storytelling. Co-writing the script with Andor showrunner Tony Gilroy initially attached in development discussions, the film is expected to favor myth and philosophy over franchise familiarity, assuming it advances as planned.
Television Architects: Favreau, Gilroy, and the Prestige Push
On the Disney+ side, Jon Favreau remains a central figure, having helped launch the platform’s Star Wars era with The Mandalorian. While his direct involvement beyond Filoni’s crossover event remains fluid, Favreau’s influence on tone, production pipelines, and visual language continues to shape live-action Star Wars.
Tony Gilroy, meanwhile, has left an indelible mark through Andor. Although the series concludes with its second season, Gilroy’s success has recalibrated expectations for political complexity and grounded drama within the franchise, influencing how future shows may be written even without his direct involvement.
New Voices, Familiar Uncertainty
Projects from filmmakers like Taika Waititi and Shawn Levy underscore Lucasfilm’s openness to experimentation, even as timelines remain undefined. Waititi’s Star Wars film, which he is co-writing, is still described as entirely standalone, with a tone expected to diverge sharply from traditional saga entries.
Levy’s reported project similarly signals a willingness to court mainstream cinematic voices, though both remain in development without firm production commitments. Their status reflects a recurring Lucasfilm pattern: creative freedom first, scheduling second.
The Big Picture: A Studio Led by Creators, Not Calendars
Taken together, the creative teams attached to Star Wars’ future projects suggest a franchise less concerned with annual output and more focused on authorship. Directors and writers are being positioned as stewards of specific eras, tones, and themes, rather than interchangeable pieces in a rigid release machine.
That approach carries risk, particularly for fans eager for certainty. But it also hints at a Star Wars future defined less by volume and more by vision, shaped behind the camera long before a single release date is locked in.
What’s Missing—and What Could Be Next: Unanswered Questions and the Long-Term Vision for Star Wars
For all the titles on Lucasfilm’s public slate, what’s most striking is what hasn’t been firmly defined. Beyond 2026, Star Wars has direction without a fixed destination, guided by creative intent rather than a locked calendar. That openness fuels both excitement and anxiety, especially for fans trying to understand how today’s announcements connect to a broader, decades-spanning plan.
The Silent Corners of the Timeline
Several eras remain conspicuously underexplored in confirmed projects. The Old Republic, long rumored and endlessly requested, still lacks an official film or Disney+ commitment despite persistent reports and creative flirtations. Similarly, the immediate post–Sequel Trilogy period remains largely uncharted, with Rey’s New Jedi Order film positioned as a starting point rather than a fully mapped era.
Animation, once a pillar of Star Wars world-building, is also in a transitional moment. With The Bad Batch concluded and no long-running animated successor announced, it’s unclear how Lucasfilm plans to sustain that side of the franchise beyond short-form or anthology-style projects.
The Status of the “Lost” Projects
No discussion of Star Wars’ future is complete without addressing the projects that hover in limbo. Rian Johnson’s long-discussed trilogy has not been officially canceled, but it has also not progressed in any visible way, effectively sidelined as Johnson’s career continues to flourish elsewhere.
Similarly, past announcements like Patty Jenkins’ Rogue Squadron illustrate Lucasfilm’s willingness to pause or reshape films that no longer fit its evolving priorities. The lesson is clear: announcement does not equal inevitability, and even high-profile concepts must align with timing, tone, and internal strategy to survive.
A Franchise Without a Fixed Endpoint
What emerges from the uncertainty is a Star Wars strategy that favors longevity over closure. Unlike the Skywalker Saga, which moved toward a definitive ending, the current roadmap suggests multiple narrative lanes designed to run parallel rather than converge. Films serve as event statements, while Disney+ series handle depth, context, and tonal experimentation.
This approach also allows Lucasfilm to respond to audience reaction in near real time. Successful tones, like Andor’s grounded realism or The Mandalorian’s mythic simplicity, can influence future development without forcing the entire franchise into a single mold.
Reading Between the Release Dates
Perhaps the most telling detail is how much breathing room exists between confirmed theatrical releases. Lucasfilm appears comfortable with theatrical gaps, treating each film as a cultural moment rather than a box to be checked. That patience suggests confidence in the brand’s staying power, even as competition for attention grows fiercer each year.
For fans, it means recalibrating expectations. Star Wars is no longer about knowing exactly what’s coming and when, but about trusting that when something does arrive, it’s meant to matter.
In the end, the future of Star Wars looks less like a straight line and more like a constellation, with bright points scattered across eras, formats, and creative voices. What’s missing today may well define tomorrow, and Lucasfilm seems content to let the galaxy expand at its own pace, guided by story first and certainty second.