Lucasfilm have always been notoriously twitchy over their properties, not letting the leash get too slack in terms of creative freedoms. This is presumably why they have burned through directors and other creatives at a rate of knots since the Lucasfilm / Disney acquisition.

Phil Lord and Christopher Miller, Josh Trank, Gareth Edwards, Colin Trevorrow, Rian Johnson, the Game Of Thrones guys… the list goes on and on. Either put onto a project then exited, the famous “creative differences”, get heavily re-shot and re-edited or simply had another project apparently in the pipeline that failed to materialize. There are more Lucasfilm leavers on the ledger than there are joiners.
So when news breaks courtesy of We Got This Covered that Lucasfilm are going to be very hands on with Star Wars: Rogue Squadron, we raise an eyebrow quizzically and think about the real world of performance management.
The rumor is that after the disastrous fan reactions to Wonder Woman 1984, and the various rumblings of issues around Warner Bros. with that movie creatively, Lucasfilm have decided they are going to keep a much closer creative eye on Rogue Squadron.

The issue, however, is director Patty Jenkin’s independence. The success of the first Wonder Woman was parlayed into total creative freedom for the sequel. We all know how that turned out! Allegedly it was this aggressive independence that caused some pain points with Warner Bros. Pain points that Lucasfilm will be keen to avoid.
However it is known that Jenkins is never afraid to walk in the face of heavy handed studio interference. She walked from Thor: The Dark World after Star Wars stable mate Marvel wouldn’t budge on certain creative points. Lucasfilm will have been watching what happened to Wonder Woman 1984 closely.
Knowing they have a director on their hands who won’t accept too much interference, why would they decide to be helicopter parents, hovering over every aspect of the production? Unless they are attempting to manage her out of the directors chair for somebody more amenable?
Can a movie survive the notorious home of troubled productions, in the hands of an independent filmmaker who may have burned through a bit too much political capital on the last project remaining independent? Against a studio and parent company who will keep a high degree of creative control? We will see if these rumors turn out to be true.