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It's hard to believe it's been so long since the last Star Wars movie hit theatres. After years of announcements, failed projects, and even a change in leadership at Lucasfilm, the first movie in nearly a decade is a follow-up to the first ever live action Star Wars show. Maybe that's fitting for a new era, under new management. The film itself is a fast paced, action-packed, adventure that hails back to the old serials that George Lucas loved. While it is certainly a fun time at the movies, with exciting set-pieces, characters inclusions from across the lore, all of which set on planets with diverse biomes (i.e. some of the things Star Wars does best). Unfortunately, the movie lacks compelling stakes, character depth (where's Din's arc?), much of any plot to speak of, or even a sense of real "importance" - and while that may be a bit intangible, it prompts the question: why was THIS movie the first to bring Star Wars back to feature films in almost a decade? Julian and Rachel try to answer that question and dive deep into all the nerdy details.

There it is, folks - the season finale to the latest creation from Lucasfilm Animation. It was certainly gorgeous to look at, with the new painterly stylings, and there was no shortage of thrilling action to sink your teeth into, nor did they skimp on the stakes. But while the season started off on a welcomed unfamiliar foot, by the end of this season, and certainly in these final two episodes, the hallmarks of what we've come to know from Star Wars animation showed their head. Early on, the admitted inspirations from films such as 'Heat' and 'The Dark Knight', provided a needed grit to a show which was ostensibly following a villain. This provided the show with a fresh personality - distinguishing itself from it's predecessors in animation. Unfortunately, the creatives couldn't seem to maintain that tone, as by this two-part season finale the old tropes and predictable beats of 'Clone Wars' rose into prominence. And while the appearance of a certain fan favourite character adds some very cool action, the unoriginality from a narrative perspective robbed the final moments of the needed pathos and drama required to land the plane in the most satisfying of ways. Tune back into Small Screen Star Wars in about 3 weeks, following the release of 'The Mandalorian and Grogu', for a full review!

There's two of them now?! With the arrival of another Inquisitor things really start to escalate on Janyx. We see Maul at his lowest since probably his spider-leg days (he goes on a self-guided therapy session/vision quest that results in something quite inspiring actually!), providing us a deeper understanding of his motivations, beyond simply "revenge!". Meanwhile, Devon continues to be the most interesting character on the show as she takes two steps forward, one step back, flirting with the dark side (though bonus points for the slick ride she acquires for their getaway). On the action side, the show continues to bring the goods, with dynamic, large scale battles (heavy on LAATs which is always a treat), intimate lightsaber combat, and a special shout out to the speeder chase this week that included a new Star Wars techno track (get outta here Niamos!), which combined for a chef's kiss of a sequence. The finale is next week, dropping on Star Wars Day (May the 4th), so stay tuned to see how much the show wants to tie up and how much it wants to leave dangling ahead of season 2!

We’ve reached the halfway point of the season and with it comes a tonal shift back to the roots of Star Wars animation - 'The Clone Wars'. With the arrival of the Empire, the focus shifts away from Maul and his dealings and toward the pair of Jedi as they are now in the crosshairs. The noire tone takes a back seat, next to Maul, as things become more pulpy, mixed with an impending doom that is reminiscent of the final season of 'The Clone Wars'. The set-piece action sequences get an injection of scale and danger, which is exciting, and some of the early seeding of characters like Rylee start to pay off. While maybe a bit different from the previous 4 episodes, the quality and the stakes remain high (well... for every character except Maul I suppose). Join Julian and Rachel as the unpack it all in excruciating detail.

Now that the premiere is out of the way, the team at Lucasfilm Animation can focus on driving the story forward with authority. The pacing is much improved this week as time feel more evenly dispersed across the characters. There's a greater concentration on characters who can wield a lightsaber and it's appreciated. No shade to the crime syndicate storyline, but we've kind of seen all that already (it was quite literally a 'Clone Wars' arc). The action remains strong while taking another step forward with lightsaber duels joining the mix. Plus, the fast cutting from last week seems to have been dialed back, which is appreciated as it provides more clarity in action scenes. For example, Devon's engagements with Maul are gripping, and with the additional time provided to Master Daki, the stakes feel ratcheted up. Kevin Kinner's music remains a highlight, the illusions to the Anakin vs Obi-Wan Mustafar theme was a particular highlight. In general, there is still room for more character growth, especially with characters not named Maul, who really can't/won't change - but happy to proven wrong! This show feels like it's in full swing already, which is good because next week things look to be really heating up as we hit the half way mark. Julian and Rachel unpack it all!

It's been some time since we've been able to sink our pointy teeth into a meaty Star Wars animated project. Since the finale of 'The Bad Batch' all the way back in May of 2024, all we've had to tie us over were anthology installments of varying quality. Praise the Force, that wait is finally over with the release of 'Maul: Shadow Lord', the latest full length series from Lucasfilm Animation. The series marks another technical leap forward for the animation studio, taking their patented visual style and adding another layer of detail and artistry that jumps off the screen. The story follows the titular, Maul shortly after the fall of the Republic and the rise of the Empire, he's looking for revenge and the series wastes no time dropping us right into the thick of things (3 car/speeder chases in 40 mins is impressive). And while we know much of Maul's criminal dealings (and most of the rest of his life actually), the introduction of a new Padawan into the mix, another apprentice-to-be for Maul, adds a layer of intrigue to an otherwise underworld focused story. Join Julian and Rachel as they unpack Chapter 1: "The Dark Revenge" and Chapter 2: "Sinister Schemes", in intricate detail.

There have been rumours circulating for years about the eventual retirement of Kathleen Kennedy from her role as President of Lucasfilm. Never mind the seemingly constant swirling demands for her head from segments of the fan base. And while those rumours and demands may have felt at times unwarranted, they were nevertheless always going to be right... eventually. Kathleen Kennedy, after 14 years as head of the studio announced that she would be stepping down and returning to a more traditional producer role, and her successors would be Dave Filoni on the creative side, and Lynwen Brennan on the business side. Julian and Rachel unpack the announcement, the press coverage, and even Kennedy's exit interview with Deadline, reading between the lines and trying to get a read on her legacy. As well as examining what life might be like under Filoni as Star Wars enters a new era under his watch. Plus, a check-in on 'The Mandalorian and Grogu' following the underwhelming Super Bowl spot.

Reference article: https://www.starwars.com/news/star-wars-best-of-2025

Lucasfilm Animation has been hard at work on their next major project, 'Maul: Shadow Lord', but they've found the time to deliver another installment in their "Tales of" anthology series. The first ones covering the Jedi and the Empire, they now turn their focus towards the Underworld. However, be warned, this is a bit of a misnomer. Don't expect any crime syndicates or really any large scale criminality here. These 2 mini-arcs instead focus on Asajj Ventress (I know, not the first thing that comes to mind when someone mentions the Underworld) as she assists a young Jedi on the run from the Empire, and the origin story of Cad Bane. Which admittedly is closer in line with the criminal underworld concept, but is really more interested in telling a western style revenge story instead. All in all, despite the always great visuals and sound/music design, and few interesting ideas, there's not enough meat on the bone here to satisfy most viewers. But most disappointing is its failure to capitalize on the potential of the Underworld concept.

It's hard to believe that 'Rogue One' premiered nearly a decade ago. At the time, it was fairly well received, considered to be a decent first step into the standalone Star Wars movies, if not a bit messy. As the years passed, we learned more about the production. Gareth Edwards, who retained sole directing credit, was assisted by Tony Gilroy to "fix" the project. Tony went so far as to call it a "corpse" when he came aboard for rewrites and reshoots. It was Tony's inclusion that brought us some of the movies most memorable moments, and ultimately led him to leading the charge on 'Andor', a prequel project that flew under the radar as hits like 'The Mandalorian' hogged the spotlight. With 'Andor' now complete, considered by many to be a masterpiece in storytelling, not just in Star Wars but on television in general, now is the most appropriate time to reexamine the movie that spawned the Cassian-centered prequel series with fresh eyes. 'Andor', which leads directly into the events of 'Rogue One' recontextualizes much of the film, creating a unique viewing experience that pays off a multitude of threads that are brilliantly laid over the two seasons of 'Andor'. It takes the movie, which was already pretty good, and makes it great. Now existing as part of a whole that weaves a cohesive narrative from the nascent moments of the Rebellion all the way through to the destruction of the Death Star in 1977 (the seed that begat ALL Star Wars, and what we appropriately align our Star Wars BBY calendars to). It all feels wholistic and considered when viewed from the broader perspective - an accomplishment that should set a shining example of what Star Wars can and should aspire to.

After only 4 weeks - the blink of an eye - it's all over. The best Star Wars story since the Original Trilogy has graced our screens and left us in awe. These final three episodes weren't able to reach the emotional highs of last week's arc, but that wasn't the goal. Instead, it provides time to look back at what brought us here, and sets the stage for the climax of the story to take place not in this moment, but within the now recontextualized film that birthed all of this in the first place, 'Rogue One'. And while the show may carry Cassian's name on the title screen, it's been the cast of characters we've met along the way that truly elevated this experience. Not to pick favourites, but in particular, Luthen and Kleya, who get an episode all to themselves this week are the standouts. And what an episode it was, as their story which shepherded much of the series came to an end, as we all expected it would have to. Embracing those feelings of closure, in the final moments of the series, as Cassian flies off into 'Rogue One', we are treated to our last glimpses of our heroes and villains. From Dedra to Vel and even Perrin, we are left to consider their fates as the story marches with inevitability into what begat all of this way back in 1977. Will we ever see Kleya, Vel, Wilmon, or Bix again? One can only hope - and rebellions? Well, they're built on hope.

When dealing in the world of prequels, it’s impossible to escape the inevitable - Anakin will fall, Han will win the Falcon, Cassian will die on Scarif. Somehow, in the midst of some of the most thrilling episodes of television ever put to screen, Tony Gilroy and his team found a way to address that impending doom and weaponize it against the audience to induce some of the most gut wrenching and heart breaking moments we’ve yet to see on ‘Andor’ - “There’s some place he needs to be”. At a larger scale, the show continues to outdo itself on a weekly basis, proving that the Star Wars galaxy provides a colour pallet of some of the richest hues from which to paint bold and personal stories. Proving you can go beyond the larger than life stories of heroics and grandeur to human stories of loss and pain and everything in between. That’s without mentioning the deft touch in pulling in themes that resonates with the contemporary while remaining timeless - a feeling that is a staple of Star Wars. Every detail is considered, every character is deep and interesting. There isn’t much more that can be said about such a powerful piece of art, except that not even the audience can escape the inevitable - only one week remains of this masterpiece.

Show Notes 'Star Wars: Episode III – Revenge of the Sith' 20th Anniversary Poster from Matt Ferguson Andor Season 2's Ghorman Language Sounds Familiar For A Reason Andor Season 2 Finally Explains Why Saw Gerrera Needs His Breathing Device In Rogue One

It's been a long time since Cassian Andor and his band of Rebel compatriots has graced our TV screens. A long hiatus, no doubt, but when you look into WHY this second season took so long the reason becomes clear - they were dotting every "i" and crossing every "t" (along with dealing with the writers and actors strikes, growing and harvesting ancient grains, hand stitching wedding dresses, the list goes on...) to make sure that this isn't just good Star Wars, but indeed the maybe the BEST Star Wars (I'm partially convinced that it may be the best we may ever get actually). Season 2 roars to life in it's first of four, 3-episode drops (essentially a movie a week for a month), not wasting any time picking up with our characters a year after the events of season 1. The sheer scale, scope, and commitment to its heavy themes is laudable, but when combined with the masterful set design, costuming, writing, and acting, you can't help but to stare, mouth agape, at this singular piece bold storytelling, that will likely go down as Tony Gilroy's largest contribution to popular culture, and deservedly so. Join Julian and Rachel as they unpack it all. It's going to be one hell of a ride!

Well that's all folks! Well possibly anyway. We don't yet have official word on whether Disney and Lucasfilm will bring back 'Skeleton Crew' for another season. So as it stands, this is the story. Overall pretty great, and while we can gripe a bit about the lack of an epilogue to really tie up loose ends, on the whole this finale was satisfying. All four of the kids had an arch that felt complete and inclusion of the parents helped put a bow on that (despite Wendle largely still being an idiot). The episode had strong pacing, as none of the character centric moments felt rushed, though again, it could have maybe done with a few more minutes of run time to make sure that everyone got a fair shake. KB, for instance, got short shrift. The ending itself leaves a lot of story left to be told, and thankfully given it's placement in the timeline, even if we don't get a second season, there should be plenty of opportunity to pick up on some of the loose threads in future Star Wars projects. All in all, 'Skeleton Crew' is one of the strongest outings from Lucasfilm in awhile and it's our sincere hope that it represents a sign of what's to come from the recently maligned studio.