Ahsoka comes at a time where Star Wars needs a solid critical and commercial hit. Following the wildly popular first two seasons of The Mandalorian, things are now on less solid ground. The Book Of Boba Fett, while it had its moments, failed to deliver the crime drama that was promised. Andor was a critical darling that did something different with the franchise but at a pace a lot of viewers deemed to slow. The long gestating Obi-Wan Kenobi was finally delivered but felt undercooked and underfunded, what should have been the crown jewel looked like it needed a polish. And the Mando season three seemed to just run out of story tell and quickly wrapped everything up. Now, with a film set in the Mandoverse officially announced, all the weight of the Star Wars universe is firmly on Ahsoka’s shoulders.
This series, and the upcoming film, are both overseen by the fan-hailed second-coming of George Lucas and the saviour of Star Wars, Dave Filoni. Filoni is, alongside Lucas, the co-creator Ahsoka Tano and guardian of the character, with rumours that everything to do with the character has to go through him. He has written all eight episodes so we should be in safe hands but the same could be thought of the veteran creators involved in the other series. Adding to the pressure is the fact that most of the elements in this series are being brought over from Filoni’s animated shows The Clone Wars and Rebels. Both shows are beloved and have a deep lore but are niche within the fandom due to the fact that they are animated. The big question is – can Filoni make this show accessible to everyone?
The answer is yes. Coming at this as someone who has seen all the previous shows, it all feels fresh. To start with, a variation of the famous Star Wars crawl is back at the start of the episode. The structure of the content is the same, but instead of yellow text disappearing into the distance, we have flat red text scrolling up the screen. Straight away this puts all viewers on the same page. When the characters are introduced we aren’t overdosed on back story, there is a drip feed of information we need to know when we need to know it, and most importantly, the episode isn’t stuffed with nudge, nudge, wink, wink, do you remember when this happened moments. There is also a massive chunk of story missing to create a mystery for viewers, both casual and hardcore.
This episode’s title Master And Apprentice sets the stage for what is most likely the theme of the series and we are introduced to three such relationships. The first is between the rogue Jedi Master Baylon Skoll, portrayed brilliantly by the late Ray Stevenson, and his padawan Shin Hati, played by Ivanna Sakhno. The episode starts with them on a mission to rescue Morgan Elsbeth from Republic forces as they slash and force push their way through the corridors of a Republic cruiser, reminiscent of the introduction of Qui-Gon Jinn and Obi-Wan Kenobi in The Phantom Menace. However, their motives differ from traditional Jedi ideals, as they seem to be driven by personal gain and power while still clinging to elements of the Jedi code, evident in the fact that Shin wears a padawan braid.
At the centre of the episode is the enigmatic protagonist herself, Ahsoka Tano (Rosario Dawson). Ahsoka is on a quest to hunt down the last surviving Imperial Grand Admiral, Thrawn, and she has used information gained from Elsbeth to tracked down an ancient star map that points to his location. Ahsoka is persuaded by Republic General Hera Syndulla, played by Mary Elisabeth Winstead, that she needs the assistance of Sabine Wren, portrayed by Natasha Liu Bordizzo, to decode the map. Sabine is drawn in by the chance that it may also lead to former teammate Ezra Bridger. We learn that Ahsoka had mentored Sabine as her padawan before abruptly severing ties. This is a revelation to all levels of fandom and creates a mystery around what caused Ahsoka to distance herself from her apprentice.
Additionally, the weight of Ahsoka’s failed apprenticeship under Anakin Skywalker hangs heavily over all her actions. Her blaming herself for not being there for Anakin when he needed help the most adds layers of tension and emotions that sets up a possible resolution or redemption in the series. Given Dave Filoni’s track record of crafting rich arcs with these two characters in Clone Wars and Rebels, it wouldn’t be surprising to see this relationship take centre stage at some point during the episodes head with Part 5 looking to be the one with big developments as it’s the next one being directed by Filoni.
With this episode, Filoni grows the live-action Star Wars Universe way more effectively than the sequel trilogy did. By embracing aspects of the Original Trilogy, the old Expanded Universe, and his own previous work, he is able to build on what has come before. It’s not just about nostalgia, but a careful incorporation of familiar elements for a new audience. One of the strengths of Filoni’s approach is his attention to detail. It’s the little things that make a difference, like bringing in the E-Wing fighter instead of just using X-Wings again. This shows a respect for the existing lore, while also introducing new elements to keep Star Wars looking interesting.
Moreover, Filoni returning to locations adds another layer of depth to proceedings. Visiting the briefing room from Return Of The Jedi on Admiral Ackbar’s Home One not only evokes a sense of nostalgia for long-time fans but also provides a sense of continuity within the Star Wars universe. These subtle references demonstrate Filoni’s commitment to crafting a cohesive universe.
While these smaller nods are certainly appreciated, Filoni doesn’t shy away from taking bigger risks. The introduction of the Ahsoka/Sabine relationship opens up intriguing possibilities for character development and future storylines. This dynamic not only adds complexity to their individual arcs but implies that it wasn’t just Luke who was trying to continue the Jedi Order’s legacy.
Additionally, the confirmation that Elsbeth is a Nightsister of Dathomir is a bold, although predicted, move. Previously, Nightsisters had only been seen in animation and games, although they were mentioned in The Book Of Boba Fett. By incorporating this element into the live-action series, Filoni expands the mystical aspect to the story beyond just Jedi. This revelation raises questions of Dathomir and its connection to the wider Star Wars universe and the Force.
Filoni’s method of growing the live-action Star Wars Universe through careful integration of existing lore and bold storytelling choices is a testament understanding of what makes the franchise beloved. By blending the old and the new, he has the ability to entertain long-time fans and newcomers alike.
This isn’t a perfect episode and the two major flaws are something recent Star Wars has been a repeat offender off. First up, the main plot device is the hunt for a star map. This was used in both The Force Awakens and The Rise Of Skywalker and, although here it is done with in this episode, it feels a little old hat. The second is – can Star Wars creators stop having characters survive being run through with Lightsabers. It’s depowering the weapon and carries no shock value now that it has happened three times in just over a year. But these are minor quibbles as Filoni wasn’t majorly involved in the other projects where this stuff happened and they probably won’t impact the series as a whole.
Overall, Master And Apprentice is a great beginning, delivering a true first chapter experience. All the actors slot nicely into their roles, all the production design is on point and the music by Kevin Kiner not only references John Williams and his own previous works but has echoes Jerry Goldsmith and James Horner’s work on the Alien franchise.
The focus on different master-apprentice dynamics, Ahsoka’s search for Thrawn and Ezra, and the possible exploration and resolution of her failed apprenticeship all promise an exciting seven episodes to come.
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