This episode is written and directed by Dave Filoni, the man behind Clone Wars and Star Wars: Rebels, and damn does it show in every frame. Filoni started out in animation departments for shows like Avatar: The Last Airbender, and adores Star Wars with a fervor that is palpable with every story he tells. His greatest asset creating narrative in this universe comes from understanding Star Wars’s visual strengths better than anyone alive. Many visuals from this episode look and feel very alike to the finale of The Clone Wars, which aired this year and was similarly gorgeous, particularly in frames centering on Ahsoka. It’s like candy for people who can see the through line, so much mood infused into each shot, incredible set ups, silence and stillness countered with flurries of action and light. It’s deeply impressive to see Filoni get the chance to overlay his eternally cinematic sensibilities onto a live-action canvas with a story he wrote using characters he conceived years ago. And this is a true full-length episode because it needs to be—the mythology to which it’s contributing is too vast....
It’s almost impossible to imbue a live-action character with the level of fluidity and motion you can get out of animation, but they clearly tried their hardest here and it comes close, particularly for a character as skilled as Ahsoka. It gears up as it goes on, with the first few fight sequences trading more on mood and atmosphere (and doing so beautifully with that switch-off-the-lightsabers-in-the-fog move), raising the stakes as it continues. The pinnacle comes in the showdown between Ahsoka and Elsbeth, which is hilariously juxtaposed in the far less impressive showdown between Din and Lang. (And am I pleased that the only high-noon-esque scenario we’ve gotten from the show thus far was completely overshadowed in this way? You bet, I am ecstatic.) I feel the need to point out that this is the very first live-action fight sequence in Star Wars history that takes place between two female characters. The first, and currently only, example. It’s taken nearly forty-five years to get this on screen. For any other examples, you’ll have to head to Clone Wars and Rebels....
But of course, the real question here is more about the overall arc of this series and where it’s trying to take us in the long run. It’s upsetting to hear Ahsoka giving Din the usual Jedi dogma against attachments, particularly because she’s more aware than anyone of what truly caused Anakin’s downfall—the fact that the Jedi system doesn’t really work. Moreover, she watched Kanan and Ezra accomplish a great deal together, and saw their attachment to each other and their little found family enable them toward great deeds. But it’s entirely likely that she’s telling Din all this toward a different end; she sees how much Grogu has grown fond of his Mando dad. It’s possible that this is her subtle way of saying “You know, he’s your kid at this point. Might be time to make peace with that and stop trying to offload him.”
Why is everybody talking about live-action Ahsoka's head-tentacles and ignoring the REAL issue?
...namely her EYES. Real true original CG-Ahsoka has anime eyes
the size of baseballs that take up about 40% of her skull volume, but merely human knockoff TV-Ahsoka has gross tiny human-sized eyes. That's not CANON, you guys, and we shouldn't have to put up with it, any more than we put up with fights that mix lightsaber styles or movies that violate us right in our expectations. [sob]
The Mandalorian is literally a story about a supporting character.
Here are main characters, Bo-Katan and Ahsoka, hunting down big bads like Gideon and Thrawn, and Din is like “that’s nice, I’m just trying to find a really good preschool for my child” AND THAT IS HILARIOUS I AM FROTHING AT THE MOUTH WANTING TO KNOW THE MAIN FUCKING STORYLINE AND DIN IS REFUSING TO ENGAGE. HE IS LEGIT LIKE “not fucking today, not my fucking division” AND DRIVES OFF IN HIS SHITTY HONDA CIVIC WITH HIS GREMLIN CHILD THAT HAS ANGER ISSUES.
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