Sackhoff is, however, an obvious choice to portray Bo-Katan, whom she has voiced in several seasons of the animated series, The Clone Wars – the fan-favorite character is a Mandalorian rebel aligned with the violent Deathwatch terrorists when we first meet her, but she quickly develops into a fascinating, nuanced woman, who hatches an elaborate plan to win her home planet back from the clutches of Sith Lord Darth Maul and his loyalists. After the death of her sister, the Duchess Satine, Bo-Katan becomes steely and frigid, but more devoted than ever to the Mandalorian way of life. By the end of The Clone Wars, she’s become the leader of Mandalore, and in Star Wars: Rebels, we see her accept the Darksaber, a symbol of Mandalorian patriotism, and embrace her destiny as the heroine who will unite the various Mandalorian clans. Sounds like she should be a pivotal figure in a story about the Mandalorians, right?
Unfortunately for Bo-Katan, we also learned in The Mandalorian that her destiny was unfulfilled – as the villain Moff Gideon was seen wielding the very same Darksaber in the season finale, with no explanation of how or when he obtained it. It’s very likely that Bo-Katan was killed prior to the events of the series and the Darksaber taken from her, meaning that any role she may have in these upcoming seasons of The Mandalorian could be limited to appearances in flashbacks. But the Bo-Katan fan in me desperately hopes she somehow survived the brutality of the rebellion and the war against the Galactic Empire, not only because she’s a fun character who deserves a prominent role, but because Katee Sackhoff is a very underrated actress who could benefit from the exposure in what has proven to be Disney+’s most successful original series.
Bo-Katan is only the latest in a steadily growing line of animated characters making the jump to live-action: others, however, like former Jedi Ahsoka Tano and Mandalorian Sabine Wren, have been or likely will be recast for their appearances in The Mandalorian‘s highly anticipated second season (Tano and Wren are also rumored to appear in just one episode of the season, which will serve as a backdoor pilot for their own spinoff series: if that is true, it makes sense why Disney and Lucasfilm would want to cast bigger, more recognizable talent for the roles). Boba Fett will also make his return to Star Wars in the upcoming season, though it is believed he will only have a small role.
Assuming that Bo-Katan did, in fact, survive her fateful encounter with Moff Gideon or his forces, she could conceivably run into Din Djarin and Baby Yoda while on the hunt for Gideon and her stolen Darksaber. The character lends herself nicely to cool action sequences – thanks to her jetpack, secret weapons and martial arts prowess – and I’d be eager to see her take on Gideon in a fight. If it’s only through flashbacks, and the outcome of the fight is predetermined, then so be it…but I really do think there are many more things that could be done with her character, and I hope that’s taken into consideration before a decision is made to kill her off.
So what do you think? How do you feel about seeing Bo-Katan in live-action for the first time ever, in The Mandalorian? Share your own thoughts, theories and opinions in the comments below!
You knew this day was coming. At some point, we would come to the end of all things, and I would inevitably make a Lord Of The Rings reference because, despite it having nothing to do with the situation at hand it’s still my go-to resource for quotes, and we would all start crying because, yes, The Clone Wars is actually over. And no, not over like it was over the last two times, but over as in it was resurrected from the dead by Disney, a final season was commissioned, and now we’ve breezed through that too. I have very mixed emotions about how I feel right now, so get ready for just a little ranting and rambling.
If you’re here, I assume you saw the warning at the top of the post, but one can’t be too careful – we’re about to get into SPOILERS! territory, and, what with this being a finale, there’s sort of a lot of spoilers.
First of all, it’s sad. You may think that’s obvious, given that this is the final episode of a beloved series, but The Clone Wars finale is sad on a whole new level – to a point where it doesn’t even feel sad, it just feels depressing. Other Star Wars stories have seen fit to close out their final chapters with at least a small glimmer of hope (think baby Luke arriving on Tattooine while the galaxy crumbles into chaos at the end of Revenge Of The Sith, or Leia’s shocking but inspiring appearance at the end of Rogue One), but not so The Clone Wars, whose finale abandons all hope and veers into territory so foreign to the series, it makes this episode feel almost like a standalone – an eerie, grimdark, post-apocalyptic dystopian short story.
The melancholy, and occasionally ominous, score accompanying this episode only works to make it even darker, as does the bleak gray color palette. Even the setting is designed to depress: remember the good old days when we could follow our sprawling cast of heroes all around the galaxy, to new and exciting planets untouched by war? Yeah, well, most of this finale takes place on the Republic (technically now Imperial) star-cruiser still hurtling through hyperspace towards Coruscant, and Ahsoka Tano (voiced by Ashley Eckstein) spends most of the time trapped in the cruiser’s suffocating maze of passages, being hunted by her own clones and finding every escape route closed off to her.
With all of the main characters busy running for their lives, it’s unsurprising that nobody has time to suddenly recognize they’re in a finale and start monologuing dramatically to each other. But this episode has shockingly little dialogue at all, and there’s not really that many last words to be said. Ahsoka’s final scene with her old friend Captain Rex (voiced, like all clones, by Dee Bradley Baker) is, in fact, completely silent, as Ahsoka mourns her fallen troopers (what makes it doubly sad is that they were literally a gift to her from Anakin) by creating a vaguely creepy public art display out of their helmets, and Rex huddles by a cheerless fire, trying to stay warm. As for Darth Maul (Sam Witwer), he steals a ship and disappears into space, off on his own quest to cause chaos and exact vengeance on those who wronged him – which at this point is pretty much everyone. At least he tears apart the star-cruiser’s hyperspace engines before he goes, which inadvertently allows Ahsoka to make her escape (and keeps her from falling into Emperor Palpatine’s hands).
The Clone Wars used to be a pretty cheerful, even funny series: but that’s not the case in the finale. There’s no humor at all, and we’re even forced to watch the happy, helpful droids introduced in last week’s episode as they get blown to bits, screaming in their shrill voices, by a merciless clone firing squad. And soon afterwards, every clone on the star cruiser, including ARC Trooper Jesse, dies when their ship hurtles out of hyperspace and smashes into the surface of a remote planet.
The closest thing to a hopeful ending is the haunting final scene, which shows Darth Vader arriving on this planet and finding the strange grave-site built by Ahsoka, alongside one of her lightsabers. The following shot of Vader activating and brandishing the blue lightsaber is both a sad reminder of what he was before his fall, and a subtle nod towards the redemption he would still achieve: redemption that would make him worthy of once again carrying such a saber. But for the moment, Vader is still Vader – and he turns away from the desolate scene, leaving us to follow his diminishing silhouette reflected in the visor of a dead clone-trooper’s empty helmet. Is that what passes for hope these days?
I may sound like I’m complaining about the sadness, but…well, I am a little, actually, but I did enjoy every individual component that went into today’s episode. Everything from the animation to the action scenes was beautiful, even if it was sad – but it does make one wonder: does Star Wars have a problem with happy endings?
Now obviously, The Clone Wars was never a story that was going to end with all the main characters riding off into a double sunset: but for a series that started out as a cartoon meant for kids, this is certainly a dramatic and unexpected heel-turn. Let me try to explain: it’s fine, it’s perfectly natural in fact, for a series to mature as its audience does and get darker as times goes along – with The Clone Wars, it’s been more than a decade since the series’ first episode aired, so quite a lot of growing has been happening in the interim, and people who watched the show as kids are now adults. What I do take issue with, at least a little, is this cheerless, hopeless ending with which we’ve been left.
Star Wars as a whole started out much like The Clone Wars did, as pure, shameless escapism; that’s exactly why it became the pop culture phenomenon that it did. But in recent years, the franchise has become….much less fun. The prequels, by virtue of being the prequels, were expected to end in tragedy, misery and inescapable despair, of course – but then you’ve got the sequel trilogy, which avoided a traditional happy ending by basically reminding us that nothing, not even victory, is ever final in this universe: no matter how many times you try to balance the Force (which is what we all thought Anakin had done, back in Return Of The Jedi), it will never work. Rogue One ended with all the main cast dead, their bodies battered into specks of cosmic ash. Now The Clone Wars ends with much of the cast dead and the survivors scattered across the galaxy, and I’m left wondering: what did we accomplish, on that journey?
Well, it’s in the finale’s title: Victory And Death. But what that title conveniently leaves out is that the victory in question isn’t really one at all, because it could have happened at any time had not Emperor Palpatine personally constructed, initiated and drawn out the Clone Wars for years by cunningly manipulating both sides, and even his eventual defeat decades later will still only be a temporary one; and the death in the title isn’t just the demise of an individual, but the collapse of a society, the utter annihilation of a way of life, of an idea, of an idealistic concept upon which the Star Wars galaxy had been built. Is that all that Ahsoka Tano, Anakin Skywalker, Obi-Wan Kenobi and their friends actually achieved, after all that time?
It’s at moments like these that I begin to question whether Star Wars‘ recent trend of sad, cynical endings is actually a good one, or if the franchise is even trying anymore to be comforting. It doesn’t really feel brave anymore: in fact, much like how Pixar is increasingly being criticized for attempting to exploit audiences’ emotions, I sense that Star Wars is heading down a similar path, towards a place where all their stories are designed to leave viewers emotionally devastated. I hope that’s not the case, but after watching this episode, I can’t help but feel that way.
But yeah, happy May The 4th, everybody! Honestly, I don’t want to make it sound like I was left disappointed by the finale – I thought it was hauntingly beautiful, and, if despair was the emotion the showrunners were hoping to cultivate from their audiences, they succeeded. But at a time like this, when the real world is already so dark and the future so uncertain, I can’t say I wasn’t a little discouraged by this conclusion, even though, in the end, it won’t affect my overall rating of the episode.
In its penultimate episode, The Clone Wars ties back into the events of the main Star Wars films in a way that could almost have felt jarring under worse direction – but with all the ingenuity and creative thinking that has made the series beloved by fans, this episode, fittingly titled Shattered, actually finds very clever ways to keep us, the audience, firmly invested in the stories of the series’ original characters while also throwing them into the midst of one of the films’ most memorable sequences: the brutal execution of Order 66.
All through the episode’s opening minutes, the haunting score keeps us on edge, waiting for that moment when millions of clone troopers all around the galaxy – clone troopers who, through the series’ run, we’ve come to love for their individuality – will simultaneously become mindless servants of Chancellor Palpatine (voiced here by Ian McDiarmid, using dialogue from Revenge Of The Sith) and turn on the Jedi Order with guns blazing, bringing the Clone Wars to an abrupt, violent end. After last week’s episode, where Darth Maul (Sam Witwer) was captured by the forces of former Jedi commander Ahsoka Tano (Ashley Eckstein), one would expect a triumphant, victorious atmosphere – but there’s little joy or comfort to be found on the planet Mandalore as new leader Bo-Katan (Katee Sackhoff) turns her attention to the grim task of rebuilding her peoples’ society from the ground up, and Ahsoka prepares to bring Darth Maul into the custody of the Jedi on Coruscant, while still weighing in her mind the Sith Lord’s terrible prophecies.
As I suspected, the Jedi Purge is set into motion during Ahsoka’s journey through hyperspace, moments after she has a telepathic Force vision of Anakin Skywalker‘s (partially voiced by Matt Lanter, partially using Hayden Christensen’s dialogue) turn to the Dark Side and the violent death of Jedi Master Mace Windu (voiced by TC Carson, with some dialogue by Samuel L. Jackson) during his fight with Palpatine in the Chancellor’s offices. Thankfully, The Clone Wars‘ method of showing the Purge doesn’t involve actually reenacting any of the notable Jedi deaths from Revenge Of The Sith through another devastating montage – instead, we witness the whole event through Ahsoka’s eyes, as her entire crew begins firing on her without warning, forcing her to make a daring escape. Despite the fact that, earlier in the episode, Mace Windu insists on calling Ahsoka a “citizen” rather than a Jedi and other members of the Order seem to subtly demean her for her choice to become a neutral rogue, it appears that Palpatine wasn’t willing to make an exception for the padawan whose banishment he had partially orchestrated.
Ahsoka isn’t completely alone in the episode, however: during the initial attack, she can easily see that her long-time friend Captain Rex (voiced, like all clones, by Dee Bradley Baker) has tears streaming down his face as he pulls the trigger on her with shaking fingers – meaning that, despite how effective Palpatine’s brainwashing has been, there’s still hope for any clone who can successfully remove the inhibitor chip planted inside their brain. When she unearths sealed documents and testimonies from Rex, she also stumbles upon evidence regarding the mysterious cases of Fives, who, in the series’ sixth season, discovered the plot to exterminate the Jedi far too early and was personally tortured by Palpatine to the point of madness. It’s a harsh reminder of another of The Clone Wars‘ most powerful, emotional story arcs, but a beautifully fitting way to give Fives the justice he deserves, even if it is a little too late to save most of the Jedi. The main thrust of the narrative in this episode follows Ahsoka as she tries to corner Rex and get him into the medical bay, with the intention of removing the inhibitor and freeing him.
Another character she has to free is Darth Maul himself, whom she actually saves from execution – somewhere along the line, Palpatine must have added Maul’s name to his long hit-list. Maul, even without the aid of his classic lightsaber, is still able to give Ahsoka the distraction she needs, keeping the clone troopers busy with his savage fighting techniques: he beheads people, he slices people in half, he even uses the Force to cut one man’s arm off in an automatic door. As of the end of the episode, we don’t know where he is now or what he plans to do once the ship is cleared of hostiles – will he and Ahsoka have to make a deal in the series’ final episode? Will he have already escaped by the time she and Rex are free? We have no clue, yet. But, since one of the unexpected joys of this season has been watching Ahsoka and Darth Maul put aside their differences to fight a common enemy, I really hope they get at least one final encounter.
There are a bunch of notable moments from this episode. Ahsoka and Master Yoda (Tom Kane) have their last conversation ever, via hologram: both are reluctant to say too much to the other, unfortunately, which makes their dialogue far sadder – neither one gets to say all the things that should have been said in that moment. Ahsoka also chooses to withhold the information Maul gave her last week regarding Anakin and his pull to the Dark Side: information which would definitely have been helpful just a few minutes later. There’s a cute scene where Ahsoka recruits her starship’s team of maintenance droids for help – which provides some organic cheerfulness in an otherwise dark and ominous story. The episode ends with Ahsoka connecting to Rex through the Force and locating his inhibitor chip – something which causes Rex to see through his brainwashing, convincing him to help Ahsoka. But, judging by the huge army of clones currently trying to break down the medical bay doors, I suspect the duo will need help if they’re going to escape from the starship: which is also, if I’m not mistaken, still on its way to Coruscant, the new heart of the Galactic Empire and Palpatine’s reign of terror.
All in all, it’s been an emotional journey, and I’m excited (though also sad) that we’ll get to finish it on May the 4th, when the series finale premieres. In the meantime, we have the whole weekend to cry over the thousands of dead Jedi now littering the Star Wars galaxy, the uncertain fate of Ahsoka Tano, and the fall of Anakin Skywalker. Like most Star Wars stories, The Clone Wars seems destined to end in bittersweet tragedy – but I’ve had a great time getting here. We’ve traveled from one corner of the universe to the other alongside Ahsoka, Rex, and the gang, and I’m glad we’ll at least get the chance to properly say goodbye to them as well.
Aided by a magical combination of fabulous voice-acting, stunning animation and mind-blowing writing, the tenth episode of The Clone Wars‘ seventh and final season has not only managed to exceed my wildest expectations (which were already high!), but has also quickly emerged as one of my favorite episodes of the entire series: all seven seasons, every choice made along the way, has led us to this – and the payoff is just as rewarding as we all hoped it would be (and mind you, the real payoff is still ahead: this is just a warm-up exercise for what’s to come!).
Not a moment of screentime is wasted. This episode doesn’t even open with Tom Kane’s iconic voice-over recap, instead placing us directly into the action and drama, right where we left off last week – with Ahsoka Tano (voiced by Ashley Eckstein), alone and outnumbered, standing against the massive, hulking might of Darth Maul (voiced by Sam Witwer) and his small but deadly army of loyal Mandalorian terrorists. But the fighting takes a moment to get started, because Maul, characteristically, has something he needs to say – and Witwer brings his all to the role this week (not that he ever doesn’t, but he’s particularly good now), truly elevating the material and dialogue he’s working with – which is already so well written that it’s sparked some jokes on the internet, where Maul is currently trending on social media platforms, about where the former Sith apprentice had time to take a crash course in political sciences. But along with an expanded vocabulary, Maul arrives on the scene newly equipped with a fascinating humanity and philosophical, introspective attitude: something that might have been hard to imagine back when Maul was first introduced in Star Wars: The Phantom Menace as the mute, cool-looking apprentice of Darth Sidious – in fact, it might still have been hard to imagine even when Maul was resurrected in an earlier season of The Clone Wars as a monstrous creature tormented by a lust for vengeance. But over time, as showrunners and screenwriters have slowly recognized his potential, he has transformed into one of the series’ most compelling characters: a villain, but one slowly moving into the extreme middle of the divide between the Sith and the Jedi. He may still fight with his classic, doubled-bladed red lightsaber, but he is just as much a neutral third party as Ahsoka Tano herself. Is he turning to the light side of the Force? No. Is he becoming more fair and just in his old age? No. But as he himself quips during the episode: “Justice is merely the construct of the current power base”. Maul is now working on his own, outside the influences of either Chancellor Palpatine’s Republic or Darth Sidious’ Separatist Union, looking to establish a place for himself in the coming chaos. But in the episode’s biggest, most shocking twist he reveals that he can’t do it alone – so he reaches out to Ahsoka for her help.
And Ahsoka wavers. Maul touches on all her weaknesses, pointing out that she left the Jedi Order willingly, because she could not stand for their hypocrisy and corrupt politics. He reminds her that the balance of power in the galaxy is about to shift, and that the Jedi will collapse in a matter of days, maybe even hours, or minutes. He informs her that Darth Sidious has been playing both sides of the Clone Wars, toying with the agendas of both the Jedi and the Sith. Ahsoka, whose entire arc has led her straight into the same neutral zone as Maul, can’t help but see the truth and reason in his words. She doesn’t hesitate long: she agrees to join him. But then Maul ruins his own masterfully crafted plan when he tells Ahsoka that her Jedi master, Anakin Skywalker, is destined to become Darth Sidious’ greatest tool and weapon in the fight to topple the balance of the Force. And Ahsoka, unable to reconcile with the idea that Anakin could ever betray her, makes her move, rejecting Maul’s proposal and initiating…a light-saber duel.
What a duel! With original Darth Maul actor Ray Park returning to perform the motion-capture for his character, and Lauren Mary Kim doing the same for Ahsoka Tano, the fight feels fully realized and unique. The action sweeps through the great throne room of Mandalore (which turns out to be an amazing set-piece, something that became clear to me when the hall’s stained-glass windows all simultaneously shattered inwards, ensnaring the duelists in a breeze of flying, multi-colored shards), and then gets carried out into the fiery hellscape of the city itself, where Maul’s loyalists are fighting the Mandalorians led by Bo-Katan (Katee Sackhoff). Everything you want from a light-saber fight, you get in this episode – there’s acrobatics and a precarious balancing-act at one point, the opponents both have dazzling elegance, and there’s a lot of Force use involved.
But in the end, it’s Ahsoka, surprisingly, who gets the upper hand – catching Maul with her Force powers as he falls, pleading to die, and holding him there until her clone troopers can take him hostage. With Maul’s forces already surrendering on the ground, it looks like the Siege of Mandalore might already be over: but the season isn’t, which means something big is still coming.
It’s not too hard to take a guess as to what that might be. On the margins of the episode’s story, we hear little snippets of news about how the Clone Wars is going: Count Dooku is dead by Anakin Skywalker’s hand, and Obi-Wan Kenobi (James Arnold Taylor) is on his way to kill General Grievous on Utapau, meaning it shouldn’t take very long to get to the great purge, and the systematic extermination of the Jedi across the galaxy. In this episode, we already saw ARC trooper Jesse (Dee Bradley Baker) become a prisoner of Darth Maul and surrender his mind to the powerful Sith – it’s possible that something occurred offscreen during their encounter that will cause Jesse’s programming to malfunction, leading him to attack Ahsoka before Order 66 has even begun. That could give Ahsoka some warning so that she can try and save some of the other clones under her command – or she might be forced to kill them all to save herself, which would be heartbreaking and utterly brutal to watch. All I know is that somehow, someway, Darth Maul is going to escape from his bonds – and a chaotic melee between his captors would pose the perfect opportunity for him to do just that.
So what do you think? How are you enjoying this final season of The Clone Wars, and what do you think will happen next? Share your own thoughts, theories and opinions in the comments below!
Some things never change – but the status quo gets a major shake-up in the tenth episode of The Clone Wars‘ final season, which kicks off the series’ last story arc: the long-awaited Siege of Mandalore. Old friends and enemies reunite with epic consequences; ancient pacts are broken; and events are set into motion that cannot be undone. From the moment the episode opens with the blood-red title card that has always signified the influence of Darth Maul (voiced by Sam Witwer), the action, drama and excitement is nonstop, fast-paced and intense.
Just to give you a sense of how close we are to the end: this episode begins a few hours before the attack on Coruscant at the beginning of The Revenge Of The Sith, in which Chancellor Palpatine is kidnapped by Separatist forces – an attack which plays a pivotal part in this episode’s events, as it drives a wedge between Anakin Skywalker (Matt Lanter), Obi-Wan Kenobi (James Arnold Taylor), and Ahsoka Tano (Ashley Eckstein), preventing the trio from joining forces against Darth Maul. A brief montage in the opening recap also gives us a quick, but heartbreaking, look at some fan-favorite Jedi Knights departing on their final missions across the galaxy.
There’s been some sort of time-jump since last week’s episode, since Ahsoka is now firmly established as an ally of the rebel Mandalorian Bo-Katan (Katee Sackhoff), whose mission to win back her home planet of Mandalore from Darth Maul and his tyrannical regime depends on the assistance of the Jedi – who, historically, have always been opponents of the Mandalorian way. Naturally, Ahsoka turns to her old mentor and friend Anakin, who is eager to help her – until Obi-Wan gets involved, counseling patience and prudence: some things really never change (like the infuriating way Obi-Wan scratches his chin every single time he has to make a decision: it’s one of those character quirks that gets repeated so many times it actually becomes vaguely irritating). Even a harsh reminder of the suppressed romantic tension between Obi-Wan and the recently deceased Duchess of Mandalore isn’t enough to change his mind.
Ahsoka, channeling everything that Trace and Rafa Martez taught her, gives the Jedi a piece of her mind – telling them bluntly and honestly that, by even questioning whether to rescue Palpatine or save Mandalore, they’re playing politics and betraying the oath they took as Jedi. Obi-Wan mutters something about how Ahsoka’s not being fair: to which the former Jedi padawan replies: “I’m not trying to be.” How far she’s come! All grown up and challenging the policies of a corrupt and bureaucratic government.
In the end, Obi-Wan wins the argument, much to Anakin’s dismay and frustration – more excellent foreshadowing of what’s to come, when the friends’ relationship reaches a breaking point. But thankfully, Anakin doesn’t let Ahsoka go without three gifts: a squadron of clone troopers, with their armor decked out in the colors of Ahsoka’s Togruta facial markings; her twin lightsabers, which she had given to him to keep after she left the Jedi Order; and the strength of their bond renewed – which, in the long run, is going to mean nothing once Anakin becomes seduced by the Dark Side, but, hey, it’s a nice gesture for right now. The lightsabers in particular come in handy when Ahsoka and Bo-Katan lead their small invasion force into Mandalore – and much to my delight, the whirling blades have also restored much of Ahsoka’s confident, unique fighting style. The gravity-defying mid-air fight scene in this episode makes up for the multitude of weak, low-energy street brawls that Ahsoka struggled through in the past few weeks.
But while Ahsoka has an easy time slicing through Mandalorian fighter ships, she’s met her match in the Sith Lord Darth Maul, whom she encounters in the sewer system underneath Mandalore (because it’s Darth Maul, so of course he’s hiding in a sewer, waiting to ambush people). Maul, as it turns out, was expecting his arch-nemesis Obi-Wan Kenobi, and the episode ends with Maul and Ahsoka rather awkwardly staring each other down, not knowing exactly what to say to each other. Will Maul try to kill Ahsoka? Will he imprison her? Or will he just kind of…talk to her? I’m intrigued to see what goes down next week, and honestly looking forward to some more of the quiet, conversational Maul who has been such a joy in previous seasons of the series.
So we’ve started out on the last leg of our journey to the conclusion of the Clone Wars. The Siege of Mandalore is already underway. The end of an era is approaching. But the good news is, some things never change. After all, Ahsoka, Anakin and Obi-Wan still only have, what, one brain-cell between the three of them? Just like old times.
Some will not be sorry to see the Martez Sisters story arc conclude this week on The Clone Wars, if it means we can move on to the long-awaited and highly-anticipated Siege of Mandalore. As for me, I have mixed feelings: am I undeniably excited to see if the entire story can wrap up in the next few episodes in an appropriately grandiose and epic fashion? Totally. But am I also very unhappy that the grounded, practical, no-nonsense Martez’s won’t be part of that finale? Absolutely.
When this week’s episode starts off, the dynamic trio of Ahsoka Tano (voiced by Ashley Eckstein), Trace Martez (Brigitte Kali) and Rafa Martez (Elizabeth Rodriguez) are all locked away once again in a Pyke Syndicate dungeon, awaiting execution – but once again, they make what would otherwise be a boring scenario extremely engaging and compelling: and I firmly believe Ahsoka couldn’t have done that alone, without help from these two sassy amateur con-women, who imbue every scene they’re in with a bit of their fun, conversational attitude. There’s more talking (by which I mean real talking, not exposition) in these last few episodes than I feel like there has been for a very long time in The Clone Wars. Trace and Rafa gave Ahsoka a place to settle down and blend in, and at the same time they gave both her and us, the audience, a welcome respite from warfare, military strategy, and the politics of the Jedi Order.
Has this arc been filler? Maybe. I really can’t say for sure until the season is done. But I hope that the lessons Ahsoka has learned from the Martez’s will help her in the near future, making her prolonged adventures with them essential to her character arc. Ahsoka was forced to confront some dark truths about herself and her way of life in these last few episodes: worst of which was the revelation that Jedi intervention has only caused pain, misery and suffering for the people they claim to protect – for Ahsoka, who has always positioned herself as a champion of justice and morality, that hit hard. She almost has an obligation to distance herself even further from the Jedi Order: leaving them wasn’t enough. Now, she may have to confront them.
If she’s going to be doing that, though, I really hope she gets a weapon upgrade. At this point, it feels like The Clone Wars‘ final season is sadistically teasing us with promises of epic Ahsoka fight scenes – and then snatching them away. I thought it couldn’t get worse than last week, but this…this topped it. Surrounded on all sides by Pyke guards, Ahsoka moves into one of her characteristically graceful fighting stances. There’s that tense pause. Then, she springs into action…and gets maybe three or four punches and kicks in before being taken out with a stun-gun. Meanwhile, Trace and Rafa, neither of whom is gifted with any Force abilities, take on an entire swarm of aliens on the lower docks and get into some sort of Indiana Jones-esque fight on a wildly-swinging crane. I appreciated giving the Martez sisters a cool action scene, don’t get me wrong: but why couldn’t Ahsoka get one too?
Now, let’s move into SPOILERS! Obviously you’d expect a few, what with the Martez Sisters arc ending and a new one beginning. And thankfully, The Clone Wars delivers.
Bo-Katan (Katee Sackhoff) is, as we all suspected, the link between the two storylines converging. Though for the majority of the episode she stands on the sidelines watching Ahsoka’s various escape attempts backfire, she pops in at the very end to whisk the former Jedi away on a mission to Mandalore – to take on their common enemy, Darth Maul (Sam Witwer). Yes, the Sith Lord has returned: here as a glowering hologram who nearly catches Ahsoka as she wanders through the Pyke citadel, in one of the episode’s more suspenseful scenes. But if a confrontation between Ahsoka and an intangible hologram seemed exciting, I can only imagine what the actual fight will be like: just, please, let Ahsoka actually fight. Darth Maul also throws in a shoutout to his criminal organization, Crimson Dawn, which was a crucial element of Solo: A Star Wars Story, and since then has never really proved to be of any importance. Maybe they’ll get something to do here.
The episode throws the core trio a bunch of curveballs, which they deflect or evade (or barrel into, head-on) as a group unit. Of course, there was no way the arc could end without Ahsoka revealing her secret identity to the Martez sisters – and though I wasn’t too keen on the way that reveal went over so abruptly, I admired how quick Trace and Rafa were to accept her, after everything she’s done for them. They even promised to have her bike waiting for her when she returns from Mandalore (will she be able to, though? If I’m not mistaken, we’re nearing the time when Palpatine will initiate Order 66, sparking the genocide of the Jedi: so Coruscant, at the heart of Palpatine’s Empire, may not be the safest place for Ahsoka to return home to after the war).
What did you think of this week’s episode? What do you want to see next on The Clone Wars? Share your thoughts, theories and opinions in the comments below!
If this seventh and final season of The Clone Wars were the normal length of twenty-two episodes, I would probably be more willing to excuse the aimless, roundabout nature of this seventh episode, Dangerous Debt. But as it is, the long-running series only has six more episodes left: we simply don’t have time to bring the story to a standstill – especially not now, right after last week’s exciting, suspenseful installment in the voyages of Ahsoka Tano (voiced by Ashley Eckstein) and the Martez sisters.
As I guessed, today’s episode opens with the three characters trapped in a Pyke Syndicate prison chamber, while the Pykes take turns torturing them for information about the missing spice that Trace Martez (Brigitte Kali) dumped from her starship in an angry rage last week. Obviously, they make attempts to escape – and the results are…well, questionable. But without getting into spoilers yet, let’s discuss what makes this episode at least decent – in fact, right up until the end, it shows every sign of being a very good chapter in what is proving to be an excellent story.
As with last week’s episode, the unexpected core of this Clone Wars story arc is the dynamic between Ahsoka and the Martez sisters, both of whom have very different opinions on her (which lends itself to particularly snappy, back-and-forth arguments between all three of them). Trace, trying to emulate her dead mother’s compassion, gives the Jedi-turned-rogue a shoulder to lean on, while her more brusque and practical older sister Rafa (Elizabeth Rodriguez) is naturally suspicious of Ahsoka’s surprising talents and intelligence. When the Martez sisters entered the picture, I’ll admit I was worried: at first, they seemed one-dimensional and a little boring. But that’s not the case anymore – we keep finding out new details about them, their personalities and their complex worldviews, and each one is more interesting than the last. I’m hoping we don’t abandon them and their storylines before the end of the series.
As for Ahsoka, this is some of the best material she’s ever been given: despite being forced to hide her identity from everyone around her, the former Jedi is still put in dangerous situations where the only thing she can do is use her Force-training to protect herself and her friends – which results in a lot more suspicion from Rafa Martez, who seems more perceptive of these incidents than her younger sister. But Ahsoka gets extra incentive not to reveal the truth about her past in this week’s episode, which shows us that Rafa and Trace’s hatred of the Jedi Order is very, very personal.
One disappointing aspect of Ahsoka’s character in this final season is that, because she herself is no longer the showy, flashy warrior she used to be, her fighting style has evolved to reflect that: now, her action sequences are quick, punchy and, for the most part, grounded – which might not be so shocking if Ahsoka hadn’t been the character deemed most likely to use unnecessary acrobatic skills in combat in previous seasons. If this is an intentional decision made to underscore Ahsoka’s journey, I appreciate it – if not, I can’t see why they would change something that had been such an important fixture of the character’s persona.
Overall, however, this episode is nowhere near as good as last week’s – and that comes down to one glaring issue, which I will address in today’s SPOILER section! You’ve been warned.
Ahsoka, Trace and Rafa start the episode in prison. They also end the episode in prison – in fact, in the very same prison cell. The purpose for their short-lived escapade seems to have been so that the Mandalorian Bo-Katan (Katee Sackhoff) could spot them fleeing through the city. Will she be the one to break them out of the Pyke dungeons next week? Maybe, but why couldn’t she do that…today? It’s not like we still have more than half of the series left to finish the story of the Clone Wars, Ahsoka Tano, and the rest of this beloved ensemble cast: we only have a couple of episodes left, and we just wasted one on a story that took us full-circle.
The episode seems to have been intended as an introspective one, where Rafa and Trace could see Ahsoka in a new light, and vice versa. But the effort to achieve that effect falls flat too – not because Rafa’s reveal that Jedi killed their parents after deciding that taking a few lives was better than risking many more is a bad idea (in fact, it’s an awesome concept, because Ahsoka knows that it’s what the Jedi would, in fact, do), but because the excessively long and detailed speech in which she reveals this is composed of dry, emotionless exposition. After suffering through it, I was hoping that Rafa would throw in some witty one-liner to at least make the scene worthwhile: no such luck. Other than that, it’s a cool reveal, and it further convinces Ahsoka to hide her true identity – something that won’t be possible when she and the Martez sisters (hopefully) run into Bo-Katan, who knows Ahsoka was a Jedi, and, in fact, had memorable fights with her in previous seasons, when the two fought on opposing sides of the Clone Wars.
Oh yeah, and the Clone Wars themselves? Once again, relegated to the background. Once again, this wouldn’t be a problem if the series were longer and could devote more time to those wars, but it’s not, so every minute we spend away from the battlefront is time we’re losing – I’m not willing to make exceptions just because we’re spending time instead with Ahsoka, Trace and Rafa, regardless of how fun they are. Fingers crossed that Bo-Katan does rescue them next week, and gets them entangled in the tumultuous civil war currently raging on her home planet of Mandalore, bringing them (and us, the viewers) back to the forefront of the Clone Wars.
What did you think of this week’s episode? Share your thoughts, theories and opinions in the comments below!
By a bizarre coincidence, the same day that Ahsoka Tano made her hotly-anticipated return to The Clone Wars in the series’ final season, news also broke that the former Jedi warrior would make her very first live-action appearance in the second season of The Mandalorian on the Disney+ streaming platform. The report, since verified by a number of other sources and trades, states that actress Rosario Dawson will portray Tano in the Star Wars spinoff, which will find Pedro Pascal’s titular Mandalorian and his adorable sidekick Baby Yoda hunting for the few living Jedi spread out across the galaxy in the aftermath of the Empire’s fall.
Obviously, Ahsoka Tano is exactly the type of character one would expect to run into the duo, so the fact that she’s showing up isn’t surprising at all (especially considering that Dave Filoni created Ahsoka’s character for The Clone Wars and is now part of The Mandalorian‘s creative team). Along with Luke Skywalker (and possibly the oft-forgotten Yaddle), Ahsoka is one of only a couple of Jedi who were still around during the time period between the fall of the Empire and the beginning of the sequel trilogy. But now that she’s supposedly making her live-action debut, the reaction has been…mixed, to say the least.
That’s not because people dislike Ahsoka. The optimistic, idealistic Jedi started out as Anakin Skywalker’s opinionated apprentice and went on to become a nuanced, introspective character betrayed by her own faith. Forced to survive on her own without friends or family, Ahsoka quickly became one of the Star Wars franchise’s most beloved heroines. The controversy surrounding this casting has everything to do with the actress chosen to play the coveted part.
Rosario Dawson, best known for her roles in Daredevil, Rent and Alexander (and for being the girlfriend of 2020 Presidential hopeful Cory Booker, whose campaign she endorsed), was the subject of a shocking lawsuit last year: an openly transgender man employed as a handyman by Dawson and her mother, and charged with renovating the family’s Los Angeles home, claimed that both women subjected him to verbal and physical abuse, which included repeatedly misgendering and mocking him. Their harassment of him apparently culminated in Dawson and her mother restraining the man while beating him up and threatening to kill his pet cat, before allegedly stealing his cellphone. The victim claims all of these events had to do with his gender identity, and the case, if verified, would incriminate Dawson as a violent aggressor guilty of a serious hate crime.
As of yet, there is no other evidence to suggest that Dawson is transphobic, and we only know a little about her views on the rest of the LGBTQ+ community. The alleged victim was said to have been close with the Dawson family before coming out as transgender, when they only knew him as a lesbian woman, and this year, Dawson appeared to come out as a member of the LGBTQ+ community herself. However, the allegation has had long-lasting impacts, and has made the casting of Ahsoka Tano a tumultuous and hostile occasion rather than a joyous one, as it should have been (and probably could have been, with any other actress). Unfortunately, even (or perhaps, especially) if no further evidence comes out against her, there’s simply no way of determining whether Rosario Dawson is transphobic or did commit a hate crime, and so this case will loom over The Mandalorian like a dark cloud. What with the show having just recently united Star Wars fans in their love for Baby Yoda, it would be a shame to disunite the fandom once again over something as serious as this.
What do you think of the casting of Rosario Dawson? Would you have cast someone else in the role of Ahsoka Tano, and how would you feel if the gentle, lovable character was played by someone who may or may not have committed serious crimes (for reference, I’d be really angry and disappointed)? Share your own thoughts and opinions in the comments below.
Not a whole lot actually happens in the fifth episode of The Clone Wars, and the Clone Wars themselves might as well be background noise barely audible over the clamor of Coruscant’s criminal underworld, but that doesn’t make this episode forgettable or weak. How could it be, when it features the long (and I mean long) awaited return of fan-favorite Ahsoka Tano?
After the turbulent events that caused Ahsoka Tano (voiced once again by Ashley Eckstein) to abandon the Jedi Order, the former Clone Wars commander and optimistic padawan has found herself living a miserable life in the depths of Coruscant’s lower levels, where she operates a malfunctioning speeder bike – a far cry from the days when she piloted entire fleets of Republic warriors. In this small-scale episode, Tano teams up with the Martez sisters, Trace (Brigitte Kali) and Rafa (Elizabeth Rodriguez), two struggling mechanics trying to navigate a dangerous world of smugglers, crime bosses and villains, after crash-landing into their repair shop.
The episode gives us a great opportunity to see the Clone Wars through the eyes of the ordinary civilians whose lives have been affected by it: Ahsoka soon discovers that Trace and Rafa, for instance, are no fans of the Jedi Order. In their eyes (and, clearly, in the eyes of many), the Jedi are a brutal police force responsible for most of the galaxy’s wars and problems. Ahsoka was already undercover and on the run from her past, but the revelation that her new friends would view her as a murderer and warmonger if they knew her true identity only adds to the insane amount of pressure on her shoulders.
Ahsoka has always been one of The Clone Wars‘ most brilliant fighters, so it’s a bit of a shame that she only gets one action sequence in this episode – and it’s both brief and one-sided. Much more notable is her vague comment about having learned these exceptional martial arts skills from her “older brother”, which will bring to mind happier times when Ahsoka used to be Anakin Skywalker’s young, inexperienced apprentice. She’s come a long way, and her journey is still only just beginning.
There are no noteworthy spoilers from this episode. Of course, there’s a little bit of conflict – and a couple of fun moments where Ahsoka has to find ways to explain her profound knowledge of droid warfare that don’t include any mention of her once being a military leader – but other than that there’s not much to say about this charming little interlude in the final chapter of the Clone Wars. I would definitely have appreciated a couple of cameos from some of Coruscant’s most notable scum, such as the ex-Sith antiheroine Asajj Ventress or even Cadmus Bane and company.
Overall, however, Ashoka Tano’s return is a win, maybe because the episode is so much smaller in scale than what we’re used to, and so much more introspective and quiet. That reflects how Ahsoka has changed since we saw her choose to leave the Jedi Order because she could no longer trust them to do the right thing: she’s quieter, more reserved, and less outgoing and exuberant than she was when she believed in a higher purpose. On her own, fighting for herself and with no faith to turn to, she’s still figuring out who she is. Maybe next week’s episode will give us a clearer insight into what that might be.
What did you think of the fifth episode of The Clone Wars? What do you want Ahsoka to do next? Share your own thoughts, theories and opinions in the comments below!
Spoilers For Star Wars: The Rise Of Skywalker Ahead!
One of the biggest criticisms of The Rise Of Skywalker was the nature of Emperor Palpatine’s return, and the fact that he just sort of…showed up again, literally hanging out on a life-support crane suspended from the ceiling of an ancient Sith amphitheater hidden beneath a floating pyramid on the previously unknown planet of Exegol, which was described as a homeworld of the Sith – which, in and of itself, was confusing: wasn’t Moraband the homeworld of the Sith, according to The Clone Wars, season 6? As if that wasn’t enough, it was revealed soon afterwards that Palpatine had not been idle, and had built a massive army of mini Death Stars on Exegol (because the Death Star is an idea that will never not be reused in the Star Wars franchise), each manned by thousands of ex-Imperial warriors, including a new brand of bright red stormtroopers who were hyped up in the pre-release marketing and barely had a millisecond of screentime in the actual film.
Needless to say, Star Wars fans had a lot of questions about the mysterious planet after leaving the theater – and very few of them were answered at all satisfactorily. But because The Rise Of Skywalker developed something of a reputation for leaving questions unanswered, most fans have already moved on from the subject and stopped theorizing about things like “what even is an Exegol?”, taking it for granted that this, like many other unresolved subplots in the film, would probably be explained someday in a throwaway line from a producer or a semi-canonical graphic novel.
But I’m guessing that very few people, even those of us who actually enjoyed Rise Of Skywalker for what it was, suspected that we would ever get an entire movie set on Exegol. It’s not that a bleak, barren icy wasteland riddled with blinding lightning and haunted by Sith ghosts doesn’t sound like an interesting location for a movie, it’s just that…well, spending two hours there, maybe more, watching Palpatine’s limp dishrag of a body being wheeled around on a crane, overseeing the construction of a fleet of redundant planet-destroying weapons that we, the audience, know will be defeated in a few minutes by a nifty lightsaber trick? I don’t know, I think I’ll pass (I say that now).
We don’t yet know for certain whether the Exegol movie will be released theatrically, or on Disney+ – what we do know is that it is being developed by Sleight director J.D. Dillard and MCU writer Matt Owens, who crafted the two best seasons of the fantastic, underrated series Agents Of S.H.I.E.L.D. We also don’t know anything about the plot, time period, or cast of characters. It could follow a young Sith acolyte during Palpatine’s Final Order, but it’s just as likely that it documents the story of some of the first Sith in the galaxy far, far away – such as the rise of Darth Bane, or one of the characters from the Knights Of The Old Republic video games. Villain origin stories are all the rage nowadays: though typically not from Disney, the studio which not too long ago canceled a planned streaming series, which would have focused on iconic animated villains like Ursula and Maleficent, for being “too dark”. If a business-savvy octopus is too dark for Disney, then I have to imagine that an ancient, bloodthirsty evil that demands human sacrifice and a form of government best described as “murder see-saw” would be too.
Who knows? Maybe it’ll be an ensemble movie about the Knights of Ren: you know, the ones who were rumored to be the greatest Sith warriors in the galaxy and were built up for two movies before becoming quick and easy lightsaber-fodder? You remember their names, right? Trudgen (Trenchen? Trunchen?), and something beginning with an A, and something with too many consonants (or was that the same one whose name began with A?), and the other one, the one whose job was to rebuild Kylo’s helmet? Remember them? Classic additions to Star Wars canon.
I actually did like The Rise Of Skywalker, I swear.
So what do you think of this news? Does the idea of watching a Star Wars movie focused on the Sith interest you, or does it seem too radically different from what we’ve seen before? Should the film follow Palpatine or a past Sith, or no Sith at all? Share your thoughts, theories and opinions in the comments below!
The final episode of The Mandalorian‘s first season on Disney+ is quite appropriately titled Redemption – for not only does the title work in-universe, but it’s also an amusingly apt reflection on the fact that Redemption very literally redeems the slow-paced series’ many mishaps. The plot itself often seemed like an afterthought while Mando (Pedro Pascal) and his tiny, adorable sidekick Baby Yoda traveled the galaxy, stopping in at random planets to marvel at the visual spectacle and meet new friends – or enemies. But in the season finale, masterfully directed by Taika Waititi, the story is rich, thrilling, entertaining and emotional; the characters feel more fleshed-out than they have appeared previously; and, most importantly, Baby Yoda is the cutest we’ve seen him yet.
And that’s all I’ll say in the non-spoilers section. If you haven’t watched the episode yet, but plan to, then turn away now! SPOILERS AHEAD!
The finale is chock-full of plot twists and gasp-out-loud revelations, but none more bewildering than the fact that Taika Waititi, who has never directed a Star Wars property previously, is somehow able to ease into the director’s chair for Redemption with all the graceful assurance of Dave Filoni, who at first glance would seem the natural choice to bring this series home to its epic (and thankfully, only temporary) conclusion. Waititi’s work here is surprisingly understated: you’d be hard-pressed to find any clues that this episode comes from the mind that brought you crazy, colorful comedies like Thor: Ragnarok or Jojo Rabbit (though it is amusingly unsurprising that the finale stars Waititi’s own character, assassin turned nurse droid IG-11, in a particularly prominent role). Obviously, directing a single good episode of TV doesn’t warrant immediately getting a three-picture deal with Lucasfilm, but hey, why not give Waititi a shot at his very own Star Wars trilogy?
Another surprise that boggled my mind, at least, was that Mandalorians are cool – for what I feel is the first time, despite everyone else in the world idolizing the very ground that Boba Fett walks upon. And one of the coolest things about them (apart from jetpacks and flamethrowers) is that they’re not a specific race of people, as Cara Dune (Gina Carano) reveals during an emotional moment in the episode: they’re a creed. Not only does it reinforce a particularly Rian Johnson theme in Disney’s Star Wars, that anyone can be a Mandalorian without having to have been born one, but it also makes the Mandalorians seem a lot more noble – in an extended flashback sequence which haunts our protagonist’s mind, we witness a squad of the flying, armored warriors acting as human shields for wounded refugees trying to escape from brutal droid-warfare: and it is revealed that during this battle, a young orphaned boy named Din Djarin was rescued by these Mandalorians and taken to safety with them – that boy was our very own “Mando”, whom I guess we can finally call Din Djarin? We’ve actually known that name for a while (Pedro Pascal ever-so-slightly spoiled it last month), but it’s only now canon, meaning I can only now use it. Yes, the Mandalorians are still vaguely cultish, and more than a little creepy, but at least they’re not solely defined by characters like Jango and Boba Fett anymore, or even just the term of “bounty hunter”. Djarin’s other biggest secret, his face, was also finally revealed in this episode…and, well, it’s Pedro Pascal’s face. I’m not entirely sure what we were all expecting, but honestly, that reveal was a bit underwhelming. It’s not like his face was even altered in any way: he didn’t have any scars or third-degree burns to speak of, no missing eyes or other distinguishing facial features. Not even a different hair color.
Djarin’s secrets weren’t the only ones brought to light: IG-11 is revealed to have been entirely reformed by Kuiil’s repairs, riding in to rescue Baby Yoda from a couple of monstrous stormtroopers who amuse themselves by punching and mocking the adorable little infant – the droid then straps The Child into a baby-backpack and goes on a killing spree around Nevarro, mowing down stormtroopers. He later sacrifices himself to rescue the whole team, self-destructing and blowing an entire legion of enemies sky-high. Baby Yoda himself is given his own hero moment when he faces down a flamethrower-wielding stormtrooper and deflects the attacker’s fire back at him: there’s a couple more reveals about his character, but I need to address those separately. Then there’s Cara Dune, whose home planet is revealed to be Alderaan (Princess Leia’s planet, infamously blown to pieces by the Death Star in A New Hope), thus explaining her undying grudge against the Empire. Greef Karga (Carl Weathers) turns out to have been an ex-Imperial himself, though that big secret falls a little flat due to the fact that we barely even know Karga, and have always been on-the-fence about whether or not to trust him and his Bounty Hunters Guild, anyway.
The person doing a lot of this dramatic-revealing is none other than Moff Gideon (Giancarlo Esposito), who is being set up to be the series’ big bad, and Din Djarin’s arch-nemesis. Gideon toys with his victims as they shelter in the burnt-out rubble of Werner Herzog’s lair, spilling their secrets to the world and promising them tantalizingly good deals if they’ll only hand over Baby Yoda. We never do find out what Gideon or Herzog wanted with The Child (and, come to think of it, we never even found out Herzog’s character name or purpose in the story, before he was unceremoniously murdered in the assault on his hideout), but considering how despicably evil Gideon is revealed to be, I’m going to assume it’s not because either of them just wanted cuddles and hugs. Gideon is also shown to have an alarmingly dangerous arsenal: not only can his tiny little handgun pierce through beskar steel, but the Moff is also a trained TIE-fighter pilot capable of handling his own in a dogfight. Oh yeah, and he just so happens to be in possession of the one black lightsaber in the entire galaxy, no biggie.
The lightsaber in question, better known as the Darksaber, has never been seen in live-action before this day, though it was seen in the animated series, Star Wars Rebels, which gave us a couple clues about the saber’s history. It was crafted by Tarre Vizsla, the first Mandalorian Jedi, during the reign of the Old Republic, and has since meandered across the universe, through the hands of a number of notable peoples and individuals, including the belligerent Mandalorian Clan Vizsla (to whose ranks Din Djarin appears to belong), the legendary Sith Lord Darth Maul, and Nite Owls leader Bo-Katan, who was the last known person to wield the blade, almost a decade before we seen Moff Gideon crawl from the wreckage of his TIE-fighter with the weapon in hand. The Darksaber is something of a mystical item, bestowing upon its wielder the title of Mand’alor, or leader of the Mandalorians – Gideon certainly has a fascination with the religious order, having been personally involved with eradicating them during the Great Purge and keeping tabs on those who survived. And now that he’s back on his feet, we can safely assume Din Djarin and Baby Yoda won’t be safe from his murderous rage anytime soon.
But for the moment, Din has a more urgent problem to worry about: while visiting his old friend The Armorer (Emily Swallow), he was gifted a number of odds-and-ends, including his very own jetpack, a personal sigil, and custody over Baby Yoda – which, apparently, is something that The Armorer can just hand out to anybody she feels like. But there’s a catch: while she tells Djarin to protect and train the baby (and even bestows upon them a title, the “Clan of Two”, which seems to hint at Star Wars’ common theme of duality), she also instructs him to seek out the child’s people – it’s not clearly indicated whether she’s referring specifically to Baby Yoda’s birth-family, or the Jedi in general, but it’s obvious that this will be a central plot-point in the series’ second season. But honestly, as much as we all want to see a whole planet of Baby Yodas, I think I’m just as excited to see The Child training as a Mandalorian – just so long as Din Djarin doesn’t try to make him wear a ridiculous helmet of his own: Baby Yoda’s adorable, expressive little puppet-face will not be hidden from the world, not if I and the internet have anything to say about the matter.
For the record, I think there’s a decent chance that we do actually see the home-planet of The Child’s species in The Mandalorian, and that the Jedi sage Yaddle will be revealed to be his mother. I know, I know, Yaddle is presumed dead – but there’s never been any conclusive evidence that that is the case, and honestly, she deserves so much more recognition than she gets. You know what, I’m just gonna say it: I think Yaddle is a better character than Yoda. Come at me, Yoda stans!
We’ve been left with a number of pressing questions from the season finale, but a bunch of mysteries have also been resolved, and we’ve left Din Djarin and Baby Yoda in a good place, all things considered. What did you think of the finale? Are you excited for Season 2? Share your thoughts and theories in the comments below!
The Skywalker Saga has concluded in fire, blood and Force lightning. After forty-two years of incredible journeys across the stars, from Naboo to Mustafar to Tatooine and Endor, from clone wars and intergalactic trade disputes to hopeless rebellions, empires, and the like, we have finally reached the story’s final, and defining, chapter. And that means it’s time to discuss all the major reveals, revelations and shocking surprises in a movie that is largely made up of such moments, in my spoiler review of Star Wars: The Rise Of Skywalker.
And, um, SPOILERS AHEAD, obviously.
There is a lot to love in this film, and a lot of elements and plot-points that have already been generating arguments and heated debates throughout the Star Wars fandom. We’re going to go through each of the film’s most divisive surprises, from low-stakes squabbles to the-fate-of-the-universe-hangs-in-the-balance battles.
Let’s start the ball rolling with two moments that absolutely could have been high-stakes scenes, but were quickly undermined. The first involved everybody’s favorite Wookie, Chewbacca (Joonas Suotamo), and his fakeout death on the desert planet of Pasaana. Chewie is captured by stormtroopers and almost gets carried away in a transport shuttle, before Rey (Daisy Ridley) and Kylo Ren (Adam Driver) use the Force to drag the ship this way and that in a potentially fatal game of tug-and-war. This moment echoes an iconic The Last Jedi scene in which Rey and Kylo struggle for mastery over Luke Skywalker’s old lightsaber, but here the outcome is that Rey suddenly unleashes a fiery explosion of Force lightning to try and overcome Kylo’s grip, blowing up the shuttle and giving us a hint of her Sith heritage. Fortunately for Rey, Chewie wasn’t killed in the explosion after all, and survives all the ensuing violence to finally get rewarded with his very own medal, having waited forty-two years to get recognition for his help in destroying the Death Star. Later in the movie, the same sort of scenario involves C-3PO (Anthony Daniels), who has to have his memory completely wiped so that he can be made to speak Sith, so that Rey can find the ruins of the Death Star, so that she can discover a Sith Wayfinder which Kylo ultimately destroys in the palm of his hand, so…there was no reason for C-3PO to have his memory wiped at all. Thankfully the movie remembers this and has an irate R2-D2 (Hassan Taj/Lee Towersey) reverse the override and restore C-3PO’s fond recollections of his best friend. The moment when he “dies” is still emotional, and does lead to some funny jokes, as all good C-3PO scenes do, but all of those theories about “Sith-3PO” were making mountains out of one very small, unimportant molehill.
The relationship dynamics in Rise Of Skywalker are next on the list, not only because of how screentime is wasted on them, but because of how unbearably messy they are. It’s no secret anymore that director J.J. Abrams and The Last Jedi director Rian Johnson couldn’t ever figure out any sort of continuity between their films, but the whiplash of seeing our protagonists leap at light-speed from one relationship to the next here seems to imply that Abrams can’t even establish continuity with…himself. Rey and her possibly Force-sensitive friend Finn (John Boyega) were the sequel trilogy’s “original” love story, back when Finn was cool for about five minutes, but that was before the fandom collectively went crazy for “Reylo”, the popular coupling of Rey and Kylo Ren that finally gets payoff in Rise Of Skywalker with the pair’s first kiss and declarations of mutual love – sort of: Driver and Ridley speak volumes with subtle gestures, and don’t really need to say anything at all. Such is not the case for Finn, who spends a large part of the movie waiting to tell Rey something, presumably something romantic, before just…forgetting? Moving on? He clearly has some emotions for her at the beginning of the film, despite having been caught up in a romantic entanglement with fellow Resistance fighter Rose Tico (Kelly Marie Tran) in The Last Jedi, and with fellow ex-stormtrooper Jannah (Naomi Ackie) here in Skywalker. But then again, Poe Dameron (Oscar Isaac) also maybe has a thing for Rey, or was I the only one getting that from their weirdly flirtatious exasperated argument in the film’s opening scenes, which even features droid BB-8 humorously looking back and forth between the two characters as Rey reprimands Poe for lightspeed-skipping in the Millennium Falcon, and Poe tells her off for damaging BB-8 (even as relationships crash and burn around them, Poe and BB-8 are resolutely loyal to each other: there’s a love story for you, and it would still be less weird than whatever was going on between Lando Calrissian (Billy Dee Williams) and the much-younger Jannah during the film’s finale). Meanwhile the film continues to tease the idea of semi-romantic tension between Finn and Poe in the subtlest possible way, while also giving Poe a former female love interest of his own, one who doesn’t really have a whole lot to do except be Poe’s former female love interest. I think the crucial element here is that she’s female: after all, gotta squash all those gay rumors. Having a two-second lesbian kiss is surely enough to make up for no substantial LGBTQ+ representation in forty-two years (and for certain countries, it was apparently too much).
Let’s move on to female characters, who, with the obvious exceptions of Rey and Princess Leia (Carrie Fisher, in her final, posthumous appearance), tend to get the bare minimum of screen-time or development. I’d be hard pressed to tell you what I thought of Jannah, Rose Tico or Zorii Bliss (Keri Russell), none of whom actually has anything to do except look cool, stand around, or stand around and look cool. Both Jannah and Zorii are at least technically supposed to have a handful of emotional beats each, but Rose especially seems to exist solely to make sure angry audience-members don’t ask where she went. But she might as well just not be here at all – she has maybe two or three throwaway lines, few if any character-building moments, and seemingly no acknowledgement of the fact that she was Finn’s love interest in the previous movie. I didn’t even think they were a particularly cute couple, but after the nightmare that actress Kelly Marie Tran went through, experiencing bullying and harassment from toxic fans, it seems suspiciously convenient that she’s little more than an extra in this film.
Other characters who fail to make an impression (and don’t worry, we’re almost done with the film’s big negatives), even after being hyped-up in the marketing, include Dominic Monaghan as another extra whose name I have already forgotten; Lupita Nyong’o reprising her role as Maz Kanata (another female character pretty much wasted); the super-creepy alien assassin Ochi of Bestoon (Liam Cook), who killed Rey’s parents and was then devoured by a giant sand-worm; and, unfortunately, Rey’s actual parents, played by Billy Howle and Jodie Comer. Yes, the very same Jodie Comer who is one of the Hollywood’s biggest rising stars at the moment – how are we not talking about the fact that she is in Star Wars, people?
J.J. Abrams was always going to have to struggle to come up with an explanation for how Rey’s parents could technically be nobodies, but also somebodies: what he devised is pretty complex, so stick with me here. Rey’s grandfather is Emperor Palpatine (Ian McDiarmid), and her father is Palpatine’s hitherto-unknown son. Before this extraordinary reveal, it was never indicated that Palpatine ever had a son, or a family, or a life, for that matter: not as the Emperor, not even as Sheev Palpatine, Senator from Naboo. Not only are we never told the son’s name, or when he was born, where he came from, or whether he was Force-sensitive himself, but we are never given the answer to the most glaringly obvious question that arises as a result of this reveal: who, dare I ask, was the poor unfortunate soul that birthed Palpatine’s son, and…um, why? Was he born when Palpatine was still a relatively human person, or after Palps had transformed into the ghastly, shriveled-up hobgoblin that we’re most familiar with? Anyway, Rey’s Father, it is revealed, chose to be a nobody instead of embracing his family name, and that’s why he and his wife sold their daughter into a torturous life of basically slavery, to protect her from Palpatine – because of course any good parent, knowing they’re about to die, would choose to sell their own child to an abusive community of junk-traders and scavengers rather than, oh I don’t know, leaving her with people who might actually care about her safety! And of course it makes sense that, after killing the parents, Ochi of Bestoon didn’t fly back to Jakku and hunt down the only human girl in a village that we saw in The Force Awakens was probably less than a mile wide. In other words, while the parents were marginally necessary, it would’ve probably made more sense to have her be, like Anakin, the result of Palpatine’s meddling with midi-chlorians (or are we still trying to ignore those were ever a thing?). She could still have been a Palpatine, and we wouldn’t be left with the horrifying implied revelation that Palpatine actually fathered a child.
Apart from the messiness of the Rey Palpatine reveal, the Emperor’s return is a welcome one. His resurrection is completely unexplained (“The dead speak!”, the film’s opening crawl reads, and that’s about as much explanation as you’re gonna get), but it’s nice to see that he isn’t totally back in shape after being tossed into the hellfire that was the second Death Star’s utter obliteration: now, the Emperor’s limp, skeletal body moves around on the end of a long metal crane-arm extended from the ceiling of his throne room on the Sith planet Exegol, like a creepy ventriloquist doll speaking with the voices of a thousand generations of Jedi. McDiarmid is obviously fabulous, and even gets to briefly return to a form we last saw him take in Revenge Of The Sith, as he sucks the life force out of Rey and Kylo Ren to repair his broken body and restore his strength. This time around he’s extra moody, having just discovered that his granddaughter doesn’t want to take part in the Palpatine family photo-op with his millions of ghostly Sith followers. And so, with no choice left to him but to destroy the universe, he unleashes the Final Order.
The Final Order is appropriately ominous at first, as we see hundreds of titanic star destroyers rise from beneath the ice of Exegol, each armed with a planet-destroying weapon, to wreak havoc on the galaxy and establish Palpatine’s dominion. But these weapons are only used, to obliterate a single planet, and as a result the Final Order is ultimately defeated by a cavalry of space-goats. For the record, I have no complaints about that – in Star Wars, the underdog always comes out on top, and we love to see it. The film’s epic finale has Lando Calrissian and about a billion other spaceships pop out of hyperspace to come rescue the goat-riders and put an end to General Pryde (Richard E. Grant) and his menacing fleet – though not before a couple more deaths, including that of pilot Snap Wexley (Greg Grunberg), who gets shot down just before the battle turns in the Resistance’s favor. Bad timing, Snap.
But few of the film’s scenes hit home quite like Leia Organa’s death, and the extensive use of ghosts, Force-ghosts and Jedi voice-overs. Midway through the movie, as Kylo Ren and Rey duel to the death amongst the shattered ruins of the Death Star, Leia finally reaches out to her son through the Force, using all of her Jedi training to find her son, the Ben Solo she knew and still loved, and bring him back to the Light Side. She succeeds, but has to use all of her remaining strength to achieve victory over the corrupting influence of Palpatine and his puppet Snoke (voiced by Andy Serkis), who had stolen Ben away from her and turned him into Kylo Ren. In the end, though Leia passes away in the attempt, she is a crucial element in the Skywalker Family’s victory over the Sith, just as we had all hoped she would be. There is no doubt that, if Carrie Fisher were still alive, then Leia would have had a much larger role in this film, but what we get is still powerful and emotionally satisfying – Luke Skywalker’s Force-ghost tells Rey that Leia actually trained to be a Jedi after the fall of the Empire, and he even gives her Leia’s very own lightsaber, which Rey subsequently uses, along with Luke’s a.k.a Anakin’s, to defeat Palpatine, symbolically uniting the power of all the previous Skywalkers against the Emperor. But it’s not just the Skywalkers who stand with Rey – it’s all of the past Jedi, who visit Rey as voices in her head as she lies, almost lifeless, on the ground at Palpatine’s feet: and I’m not even just talking Luke Skywalker (Mark Hamill) and Yoda (Frank Oz). A whole bunch of fallen Jedi give advice and courage to our protagonist in that moment, from Obi-Wan Kenobi (voiced by Ewan McGregor and Alec Guinness) Qui-Gon Jinn (voiced by Liam Neeson) and Mace Windu (voiced by Samuel L. Jackson), to some of the extended universe’s most notable heroes like Kanan Jarrus (Freddie Prinze Jr.) and Ahsoka Tano (voiced by Ashley Eckstein), who apparently died a Jedi despite (a) being alive the last time we saw her, and (b) leaving the Jedi Order in The Clone Wars. Fittingly, the final word is given to Anakin Skywalker (Hayden Christensen) himself, as the Jedi-turned-Sith-turned-Jedi tells Rey to restore balance to the Force and finish what he started. But even as a thousand generations of Jedi live inside Rey (something she acknowledges in an Iron Man-esque growl of determination, with her “I am all the Jedi” line), so too does Ben Solo have his own ghosts. Soon after being redeemed by his mother’s purifying love, Ben has a conversation with the ghost of his father, Han Solo (Harrison Ford), who actually appears physically – and, weirdly, also has audible footsteps, despite being intangible – and, in typical Han fashion, abruptly cuts his son off before he can start apologizing for all his sins with a quick “I know”, echoing his long-ago declaration of love to Princess Leia.
There are many echoes reverberating in The Rise Of Skywalker, from quick but powerful payoffs, to a number of startlingly poetic parallels. Even Luke Skywalker is still developing as a character even after his death, finally managing to lift his X-Wing fighter jet from the waters of Ahch-To even after infamously failing to do so on Dagobah in The Empire Strikes Back. Ben Solo echoes Anakin’s redemption arc by turning to the Light at the end of the movie, helping Rey to defeat Palpatine. And it’s Palpatine’s own Force-lightning which Rey deflects back into his hideous face, ultimately disintegrating the Emperor (in what appears to be a Raiders Of The Lost Ark callback) and preventing Rey herself from succumbing to the Dark Side. And then, she sort of dies.
But thankfully, all those Force-phone calls between Rey and Ben were actually leading up to something, and something big: while in The Last Jedi they mostly just provided the two characters a way to communicate, Rise Of Skywalker adds a new wrinkle to the relationship, allowing Rey and Ben the ability to transfer physical objects via telepathy, including a beaded necklace, Darth Vader’s helmet, and a helpful lightsaber. Ben, cradling Rey’s dead body in his arms after the battle, is able to take things one step further by physically transferring his own life to Rey, reviving her but also killing himself in the process. Rey is quick on the uptake and manages to steal a kiss from the redeemed Jedi, just before he fades away into the Force, leaving Rey Palpatine to carry on with the massive burden placed upon her by generations of Jedi, Sith and Force meddling.
One thing she will not be carrying anymore is the Palpatine family name, which she abandons in the film’s final scene in exchange for “Skywalker”. The scene is a poignant one: Rey goes to Tatooine and buries Luke and Leia’s twin lightsabers just outside the Lars moisture-farm where the story began back in 1977. The Skywalker siblings’ Force-ghosts, united in death, look on as she takes up their family name and sets out into the double sunset with BB-8 beside her, and a lightsaber of her own (a lightsaber that I and many others think is yellow, while others claim it’s white). This is undoubtedly the film’s most controversial move: on the one hand, it makes sense that Rey wouldn’t want to be a Palpatine, and it’s poetic for her to adopt the Skywalker name, making sure that their name never dies out from the galaxy. On the other hand, fans are upset that Rey didn’t simply choose to keep the Palpatine name and redefine her grandfather’s legacy, proving that you can still be a good person, no matter where you come from or who your family happens to be. Both arguments are understandable, but at the end of the day it comes down to the fact that Star Wars has always been the story of the Skywalker family – to let their memory die out, buried in the sands of Tatooine, would be a dishonor to their legacy.
And with that, the story of Skywalker is finished, once and for all. Peace has been restored to the galaxy. Balance in the Force has been achieved, through the actions of Rey Skywalker and Ben Solo, champions of the Light and Dark, who came together in what they called a “Force dyad” to become the “two that are one” – remember my Star Wars recap reviews, where I told you that duality would have a part to play in this last movie? I didn’t even expect that sort of shoutout in the film’s own dialogue (I expected it to be all in the subtext), but the confirmation was highly appreciated. The Empire, The First Order, and The Final Order have all been vanquished, and nobody needs to build any more Death Stars. For the first time, the galaxy is completely tranquil, and we no longer need to worry about what Sith Lord will rise next, because there won’t be another Sith Lord. This is it. This is the end.
We, the fans of this incredible franchise, have finally brought the story home. There will undoubtedly be much more Star Wars to come in future years, whether in the form of prequels or sequels, but I hope that Disney never feels the need to resurrect Palpatine once again, or bring the Skywalkers back. Any tampering along those lines would serve only to ruin the perfection of this pure, beautiful moment.