Wow. They made a sequel to Andor and Rogue One in 1977? Such a weird release schedule!

Lucasfilm’s second and final season of Andor cements itself as one of the best Star Wars projects ever made and one of the most important pieces of science fiction media produced in the last decade.

I know that may come as a surprise given Lucasfilm’s ongoing struggle to find an identity for its flagship IP, but it is true. Tony Gilroy’s sci-fi thriller is outstanding from start to finish.

Andor is a mature story about the origins of the rebellion against the empire that explores complex real-world dynamics about politics, war, family, and sacrifice. It is a captivating depiction of how advanced societies can so easily decline into fascism and oppression and the immense amount of effort it takes to recover. Andor excels in creating timely, relatable drama that will keep you glued to the screen from start to finish.

The tone, pacing, depth, and scope exceed the lofty standards set by season 1 and are complemented by award-worthy acting, gorgeous cinematography, and an incredibly moving score. The story shines in its ability to portray a galaxy in decline, subjugated to oppression, war, and fascism. These tropes are contrasted by emotionally charged acts of rebellion and personal sacrifice that detail the origin of the Rebel Alliance we all know and love.

Andor leads directly into Rogue One, my favorite Star Wars film of the Disney era, and impressively elevates that experience with added depth and a stronger connection to its main characters. All of this precedes A New Hope, making for a fantastic trilogy in its own right. I can even see an argument for the makeshift trilogy of Andor, Rogue One, and A New Hope being more important to watch as a trio than the original trilogy.

If you have understandingly grown frustrated with the galaxy far, far away in recent years, Andor will bring you back and then proceed to impress and entertain in ways you never thought Star Wars could. Nothing will ever make up for the injudicious works that are The Rise of Skywalker and The Book of Boba Fett, but this series highlights the power of good stories in this universe when they are in the right hands.

Andor is Star Wars without unnecessary lightsaber duels, half-baked cameos, or mindless fan service. Showrunner Tony Gilroy instead takes the often overlooked but intriguing geopolitics of the galaxy and expertly crafts a deeply satisfying origin story that is eerily similar to the world in 2025.

It has been quite some time since Star Wars was must-watch programming, but that changes with Andor in all the right ways.

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Star Wars is Political

If you spent some time reading comment sections on the internet, you’d learn there are real small-brained individuals out there that think Star Wars has become too political or “woke.” Yes, the franchise with the word “wars” it is name, according to these folks, is too political.

Besides the inherent ridiculousness of that and the shocking lack of media literacy from a certain group of self-proclaimed Star Wars fans, Andor succeeds because of Tony Gilroy’s awareness for the inspiration behind the subject matter.

Gilroy masterfully takes the themes and messages George Lucas has been preaching for decades and applies them to this show, which takes place in some of the darkest and hopeless days in the Star Wars timeline. It is one of the few times in the galaxy where there aren’t fantastical Jedi and force-using heroes at the helm of the fight against evil. Instead, the heroes are believable and relatable, often failing far more than they succeed. Andor is a grounded story about the power of solidarity and resistance rather than the magnificence of a few.

I find it remarkable that one of the leading pieces of modern media that accurately depicts acts of oppression as oppression and calls out acts of genocide as genocide is a fictional television show from the galaxy far, far away.

Andor is as bold as it is brave because it accurately demonstrates the blight and human suffering fascist regimes have exploited for thousands of years. These are real issues and tactics that modern media and politicians are often afraid to cover because they fear it will be dismissed as propagandistic or taboo despite the suffering present in our very society.

Star Wars may be set in a fictional universe that predates our own, but its central message has never been more relevant. Andor’s brilliance stems from its willingness to explore those motifs rather than gloss over them.

A Welcome Departure from The Volume

Perhaps Andor’s greatest accomplishment is the sense of grandeur and scale its set design and accompanying blocking achieve. This effect is watermarked all across the show and makes even the smallest of moments feel important and worthy of our attention.

You may also notice that things just look different compared to other Star Wars television hits, like The Mandalorian or Ahsoka. That is because Andor does not use Industrial Light and Magic’s StageCraft technology, also known as The Volume. Sets are entirely handcrafted and are designed for shots and moments that can follow actors and extras on foot for much longer than a constrained environment.

About ILM's StageCraft at The Volume

This does not make or break a show, but for a story such as Andor’s, it is a welcome decision by Lucasfilm. Consider pivotal moments in the season, such as the Ghorman Massacre, the Chandrila wedding, or Mon Mothma’s exit from the senate building. All of those scenes are emotional, yes, but what really makes them effective is the use of space as a way to convey tension. Mundane things such as a walk, dance, fight, or conversation can be filmed using establishing shots or tracking shots that keep your eye focused on the subject matter without any distracting cuts.

Besides the obvious beauty in the cinematography, none more evident than the infamous Mon Mothma dance sequence, allowing the audience to look at the large crowds in the large sets from a distance creates an almost visceral experience. You are meant to survey the cities and rooms and feel immersed in the world.

The culminating effect takes Andor, which is based off a literal footnote in the larger history of the galaxy, and gives its story blockbuster treatment. Even the most mundane people and most insignificant places in the galaxy feel widely important.

And that is the point! Andor is about the nameless and how their sacrifice, no matter how small, inspired something as momentous as blowing up the Death Star. Luke Skywalker will rightfully be remembered as the hero and the man who ultimately lead the charge to destroy the empire, but the attention to detail of all the little moments that lead up to that point are what make Andor and its contribution to Star Wars as a whole so impactful.

Benchmark for the Future

On the back of Andor’s success, Star Wars finds itself at an interesting moment in time. Since the Disney acquisition, Lucasfilm has had some very high highs and some shockingly low lows. I still find it hard to believe that the same studio that created Andor and Rogue One greenlit The Rise of Skywalker. President and industry legend, Kathleen Kennedy, is also retiring soon.

Fortunately, Tony Gilroy’s exceptional work over the past decade highlights just how wonderful Star Wars can be when done right. That doesn’t mean every film and show needs to be a dark drama series for mature audiences, but it does suggest that the future of Star Wars lies in the unexplored corners of George Lucas’ vast galaxy.

I would move away from the Skywalker Saga and legacy character spinoffs and dive head-first into fresh ideas featuring new characters and stories that passionate filmmakers, like Tony Gilroy, are willing to devote their time to. As evidenced by Andor’s reception and critical acclaim, entrusting your storytellers with ample resources and time yields the best results. Massive IPs like Star Wars are at their best when corporate greed and needless timelines don’t get in the way of creatives. No fan will ever be upset about waiting slightly longer for a good product than feeling let down by a rushed one.

Final Thoughts

When Andor was announced, I’ll admit I was not intrigued. A television spin-off about a protagonist that we already knew the fate of (from a spin-off film in its own right, mind you) just seemed inconsequential.

I couldn’t have been more wrong.

Andor is one of the best Star Wars projects ever made. Hands down. It is a beautiful story about personal sacrifice and rebellion in the darkest of times. Tony Gilroy masterfully examines the origins of political uprising and the dangerous, dark truth to that fight. The underlying message, however, rings true to the central themes George Lucas always worked so hard to portray. Rebellions are build on hope, after all. Andor is Star Wars at its very best.

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Additional Reading

What I am watching, listening, reading, and playing this week.

The Two Popes

I’ve been obsessed with pope stuff since the conclave appointed Pope Leo XIV. I am not Catholic, but I find the process fascinating. I also really enjoyed Conclave last year.

The Two Popes is an endearing portrayal of two people that, despite overwhelmingly different world-views, learn to come together for the benefit of the masses rather than self-preservation. These are important narratives in today’s climate and I appreciate that. The film itself suffers from some odd directorial decisions and a 2nd act that is far too drawn-out. That said, I was emotional by the end and found both Jonathan Pryce and Anthony Hopkins‘ performances very moving.

Georgie & Mandy’s First Marriage

I am a Big Bang Theory stan! I love it and everything in its little universe. Sometimes you need mindless fun in the background and season 1 of Georgie & Mandy’s First Marriage takes beloved characters from Young Sheldon and satisfies that itch.

GNX

Since his Super Bowl halftime performance, I haven’t been able to get enough of Kendrick Lamar’s GNX. It is an album that listens like a story with a tremendous amount of symbolism and meaning.

Sunrise on the Reaping

The Hunger Games prequel about my favorite character Haymitch has been a very fun read. I do not think this is nearly as good as the original books, but fans of the series will enjoy this and all its callbacks. The upcoming film has great potential considering The Ballad of Songbirds and Snakes was a better film than read!

Indiana Jones and the Great Circle

The best Indiana Jones story of the last few decades comes in video game form. The Great Circle features a captivating story full of the same emotion and action the original Indiana Jones films executed so well. I have been loving this single-player experience!

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Netflix is on a roll.

Between The Diplomat and Nobody Wants This, the red N is home to two of the best seasons of television this year.

Nobody Wants This is an endearing story about the unlikely romance between a rabbi, played by Adam Brody, and a sex/relationship podcast host, played by Kristen Bell, that tests their careers, families, and friends.

The show elegantly portrays modern dating and romance, effective because its story, characters, and themes are effortlessly normal. Nobody Wants This embraces imperfection and never shies away from the irresistible chaos that is contemporary dating.

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An Escape From Predictable, Formulaic RomComs

Nobody Wants This thrives in its commitment to self discovery and growth. It embraces a healthy relationship for a change, one where neither partner is “too good” for the other. The show uses its 10 episodes to carefully craft their evolution to compatibility in a raw, unfiltered story full of realism and humor.

It excels in its emphasis on the commonplace. Set design, wardrobes, and cinematography accentuate the mundane aspects of life. Text messages, awkward moments, and insecurities are celebrated rather than hidden. The show formulates a world that looks, sounds, and feels like our average lives.

You will see yourselves in these characters. You will feel their joy, pain, and humor because we have all lived a similar experience.

Bell and Brody thrive in their roles because they are given the freedom to express the true messiness of dating. Careers, interests, religions, and families are explored in remarkable depth. Each is embraced in a serious, yet lighthearted manner that captures the dynamic of the modern family and social norms.

Just at the moment in the story where 99% of other RomComs would see their main couple predictably split, Nobody Wants This will keep you guessing. Bell and Brody have conversations about religion, sex, parents, exes, friends, and work that are intense yet genuine.

You fall in love with the way they handle hardship and drama not because it is perfect, but because it is real. Each character takes leaps of faith outside of their comfort zones that are hilarious and necessary. There is palpable stress, wit, and excitement that all couples feel as they take steps towards commitment.

We Need More Television RomComs

That unpredictability and excitement translates offscreen due to the episodic nature of the story. When I finished Nobody Wants This, I immediately started thinking of all the disappointing RomComs over the last few years that could have been better as a TV show.

As the audience, the unpredictability and tension of the romance is conveyed in the stop, start nature of TV. Just like the characters, you have to wait and sit on the edge of your seat to see if the relationship will work. You’ll find yourself overthinking the story and second guessing each characters moves. It is eerily similar to real life dating.

Sharp Dialogue You’d Overhear In A Coffeeshop

Nobody Wants This was created by Erin Foster, who based the story off of her real life love with her husband. The show excels at keeping things real. Conversations feel raw, authentic, and unfiltered. The dialogue stands out because it uses modern slang and insults. It is clear that the story works because it worked for the person telling it.

Read more about the origins of the show and Erin’s relationship with her husband, Simon, here:

Erin Foster’s real-life romance

I was also genuinely surprised at how funny this show is. I laughed out loud numerous times each episode. The comedy is fresh, modern, and relatable, but also insanely endearing. It brings you closer to the moment and characters.

Nobody Wants This will pleasantly remind you of the creme de la creme of the romantic comedy genre for its cleverness, but also make you feel like you’re experiencing something new and original.

Undeniable Chemistry

The other pleasant surprise of this show is the on-screen chemistry between Bell and Brody. They effortlessly radiate through the screen and portray their two character’s flaws in a relatable way. On the surface, a love story between a rabbi and sex podcaster should not work, but their commitment to authenticity and vulnerability is remarkably sound.

This connection makes their self discovery, mistakes, and imperfections shine in all the right ways. You feel them through the screen and will be cheering for them as if they were your own friends.

Final Verdict

Nobody Wants This is my favorite surprise of the year. It joins Hitman on my list of the best romantic comedies of the year. The show effortlessly portrays the beautiful chaos of modern dating with an undeniable charm and sense of humor. Palpable energy and chemistry between Kristen Bell and Adam Brody ensure that everybody wants this show in their lives.

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Nobody Wants This is on Netflix today. What did you think of the first season? Let me know in the comments. I look forward to our discussion!

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Additional Reading

What I am watching, listening, reading, and playing this week.

The Holdovers

One of the best holiday movies in the last 20 years! I cannot recommend this film enough. Paul Giamatti gives an award-worthy performance, with Dominic Sessa and Da'Vine Joy Randolph being equally impressive.

The Diplomat (Season 2)

Keri Russell’s brilliant political thriller is back for season 2 on Netflix. This show is riveting and very timely. Give it a try if you haven’t already. I will be reviewing this next!

Everything I Thought It Was

I am going to JT’s concert in a few weeks and have been listening to his newest album to prepare. I love the NSYNC reunion in this!

Project Hail Mary

Currently being adapted as feature film starring Ryan Gosling, Project Hail Mary by Andy Weir is a dramatic sci-fi with great characters and hilarious humor. It has been one of my favorite reads this year. Weir is the same author who wrote The Martian.

Baldur’s Gate 3

This is one of the most robust and detailed role-playing games I have ever played. It has been a joyful experience that I cannot get enough of. Anyone who loves RPGs, fantasy, or adventure games will fall in love with BG3.

Thank you for reading Blitz’s Backlot! If you enjoyed this, please consider sharing the publication to other film and tv lovers. I greatly appreciate your support.

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Trigger Warning - This show and review features topics of abuse.

Creator of the hit Netflix show, Monster: The Jeffrey Dahmer Story, Ryan Murphy, is back with his second installment of the IP. This season focuses on the tragic Lyle and Eric Menendez Story and, for starters, is no where near the narrative quality of the Emmy-winning Dahmer.

For those unfamiliar, the Menendez brothers brutally killed their wealthy parents in 1989 and were convicted of the crime in 1996. Before the murders, the two brothers were subject to sexual, physical, and emotional abuse at the hands of their parents. The show explores the brother’s upbringing and ramifications of their actions.

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The best word to describe this Ryan Murphy biopic is overexaggerated. Murphy invents themes of promiscuity and spends far too much time dragging out baseless claims that the two brothers had intimate feelings for each other. This comes at the sacrifice of a more detailed exploration into how the abuse the brothers faced from their parents, particularly their father Jose, influenced their actions.

This is an odd creative decision because it minimizes the effect of heinous parenting on Erik and Lyle. Whether Murphy meant it or not, his story more or less suggests that the brothers are only to blame and that their parents are not responsible. It is no question that the brothers were awful criminals, but not properly addressing the domestic abuse they faced is irresponsible given how prominent parental abuse is around the world.

Murphy had a real opportunity to tell a meaningful story about a lot of wrongdoing in order to raise awareness for a serious issue. Instead, he overdramatizes the story of mentally ill murderers for a poorly executed form of shock-television.

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Monsters: The Lyle and Erik Menendez Story is available to watch today on Netflix. You can check out all my other reviews at Blitz’s Backlot. Let me know your thoughts on the show in the comments. What is your rating?

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Season 3 of The Bear was a fantastic achievement in artful direction. Performances from Jeremy Allan White, Ayo Edebiri, Elon Moss-Backrach, and Liza Colón-Zayas are as impressive as ever. The writing of each episode masterfully shows off their range as actors. However, The Bear’s main narrative takes a back seat in season 3, often focusing more on showing the complexities of Carmy’s inner mind. This approach created a rather slow and dragged out plot structure that probably could’ve been condensed into half the number of episodes.

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The emotional depth of The Bear’s main story is one of the big reasons why this show is so popular. The tragedy that struck Carmy’s family and his subsequent response to it is as much gripping as it is relatable. The idea of using his incredible talents as a chef to revitalize the family business while also rekindling relationships with his family is a story people want to invest in.

Where we leave Carmy at the end of Season 2 and where we leave him at the end of season 3 is virtually the same, however. He feels isolated and alone, still very bad at managing his restaurant. His very little personal growth made a few episodes in season 3 feel very mundane. This is a let down after how good the narrative was in the first two seasons.

One of the season’s brightest spots is the incredible guest acting performances across the board. Jamie Lee Curtis, Joel McHale, and John Cena were the biggest stand outs to me. They’re all so different, and so quirky, but it just works so well. Only in The Bear!

A positive thing about the nature of season 3 is the payoff we will likely get by the end of season 4 is going to be that much more rewarding. I think Christopher Storer has earned the right to craft this show however he wants. Trust the process, as they say.

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The Bear is available to watch today on Hulu. You can check out all my other reviews at Blitz’s Backlot. Let me know your thoughts on the season in the comments below. What is your rating?

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Lucasfilm’s newest entry in the Star Wars universe, The Acolyte, aired its season one finale last night. Set about 100 years prior to Star Wars Episode I: Phantom Menace, The Acolyte explores the Star Wars galaxy at a time when the galaxy and the Jedi were experiencing great peace, known as The High Republic. Little conflict and turmoil exists at this time. In the shadows, however, a vergence in the force appears to inspire the lurking dark lords of the Sith along in their master plan to get revenge against The Jedi. Something we all see come to fruition at the hands of Darth Sidious and Darth Vader in Star Wars Episode III: Revenge of the Sith. In other words, it is an origin story of both the downfall of the Republic and the Jedi, and the origin story of the birth of the Galactic Empire.

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The Dark Side of Star Wars

Since the first Star Wars film was released in 1977, there have been various moments that have caused unrest amongst pockets of the fandom. Notably, starting in 1999, when Star Wars Episode I: The Phantom Menace was released and the new prequel era officially began, many fans complained of George Lucas’ reliance on CGI, poorly written dialogue, or annoying characters. Then again, in 2017, Star Wars Episode VIII: The Last Jedi set off fans who were displeased with the treatment of beloved characters, like Luke Skywalker, and poorly written arcs for some of the new trilogy’s main characters. And now, in 2024, Star Wars: The Acolyte has once again brought forth similar complaints about writing, character arcs, and new Star Wars lore, or canon.

Fans with those complaints, are entirely justified. All of these installments push the boundaries of our knowledge of the force and Star Wars canon as we know it. They have made unique production decisions and that is a reaction you can expect with Star Wars because it means so much to so many people.

There is another side to all of this, however. A darker side, if you will.

Ask George Lucas, Jake Lloyd, Hayden Christensen, Daisy Ridley, John Boyega, Amandla Stenberg, Lesle Headland, and likely many other notable Star Wars cast members about their experience with bullying and hateful rhetoric. They will not have pleasant stories to tell you.

Lloyd has struggled with lifelong trauma as a result of the hate he received as a child for his performance as young Anakin Skywalker. Daisy Ridley has openly discussed the overwhelming pressure and anxiety many have caused her. And the creator of Star Wars himself, George Lucas, has repeatedly cited the harsh reception from fans and critics of the prequel trilogy as a major factor for going through with the $4.1 billion sale of the franchise to Disney in 2012.

Since the release of The Acolyte in June, the toxicity and hate has been at levels I have not seen in a long time. There have been instances of racism directed towards Amandla Stenberg and homophobia directed towards series creator, Lesle Headland. All because certain pockets of the fandom are not enjoying the series.

There is a big difference between not liking a show because you do not appreciate the writing, production, or lore and not liking a show because you are bigoted. I will not entertain the latter because people like that deserve no attention. However, behind the hate, there are justified criticisms, as well as positives, that I break down below in my review of season 1 of The Acolyte.

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The Acolyte - Season 1 Synopsis

The basic premise of season 1 of The Acolyte centers around two twins, Mae and Osha, who were born in a mysterious witch coven by a very powerful mother who manipulated the force to conceive them. This obviously makes them very powerful beings, so much so that Osha joins the Jedi order as a youngling to be trained under Jedi Master Sol, eventfully leaving as an adult, and Mae being recruited as an Acolyte by mysterious dark sider, Qimir or The Stranger. The twins and the Jedi have a dark past. Years earlier, when the twins were just children, the Jedi set out to explore their home planet, Brendok, because they felt a vergence in the force we eventfully learn is the twins. Things go awry as the Jedi attempt to convince the coven to take the twins to Coruscant to be trained as padawans, but they resist. Things turn violent and all the witches die. Mae and Osha’s mother at the hands of Sol. A truth he hides from Osha all these years by blaming her sister for starting a fire that kills the coven.

At the midway point of the season, there is a massive confrontation and Qimir kills a large group of Jedi, including Sol’s current padawan learner, Jecki. Sol is the sole survivor (no pun intended) and the twins swap places. Mae poses as Osha because she wants to confront the Jedi and make Sol confess his lies, and Osha having been stunned by Mae after they fight, is taken by Qimir. At this point in the season, things seem to falling into place. We get the sense that Osha, not Mae, is the true Acolyte, and Master Sol has a difficult future to face.

One big piece of the story that I haven’t mentioned yet is Jedi Master Vernestra. She is about 200 years old at this point and a very prominent member of the Jedi order. A popular character in the High Republic novels, she is very clearly not only aware of Qimir’s presence (hinted at by the lightsaber whip marks on Qimir’s back), but she is keen to hide his existence from the Jedi High Council. This is likely because she is his old master and something happened between the two of them that she doesn’t want to come to light. The council, lead by everyone’s favorite wise little green friend, Yoda, is no where to be seen at this point in the show. Vernestra is written as a morally sound Jedi in the novels, so it is surprising to see her live with so much deception in this show. We still do not know what she is hiding and if there is a season 2, that arc will be one of its highlights.

The season ends with Qimir recruiting Osha, whom he clearly has a strong (romantic?) connection with. Sol, on the other hand, confesses his big secret to Mae and then sets out to find Osha and set the record straight once and for all. Recognizing the need for a reunion with Sol, Osha sets out with Qimir to find him. As they leave, we see a Star Wars legend make his live-action debut. Darth Plagueis lurks in the shadows of Qimir’s hideout, very clearly interested in Qimir and Osha’s connection. What a tease. He looked as menacing as he should be! He will likely play a much bigger role should season 2 be green lit.

They all end up on Brendok one final time.

Despite all he knows about Mae and her Qimir, Sol’s attachment towards the twins leads to his eventful downfall. A theme we have scene before in Star Wars, right!? In a final confrontation, Sol and Qimir have another lightsaber duel. He bests Qimir, but Mae interferes before he can inflict any permanent damage and demands he confess his truth to her and the Jedi Order. Osha overhears Sol’s confession and in a moment of pure dark-sided rage, she force chokes him to death. Her rage, fear, and anger bleed Sol’s once blue lightsaber to red, symbolizing her evolution into the show’s titular Acolyte.

In the aftermath, the twins have a sentimental moment where Osha decides to formally join Qimir. In an attempt to keep her hidden from the Jedi, Qimir wipes Mae’s memory using his dark side abilities. Vernestra and a search party arrive late to find a dead Master Sol and a very confused Mae, who’s now last memory was the night she fled from the fire on Brendok all those years ago. In an emotional final act, Vernestra confronts the Republic’s leading senators and chancellor, framing Master Sol for killing the witches on Brendok and being responsible for all the Jedi lost in this show. She says that Sol took his own life out of guilt and shame. One of the most respected, beloved, and kind Jedi in the order has his legacy tarnished so Vernestra can keep her secret. What is she hiding?!

The final scene of the show sees Vernestra enter a room and as the camera pans, the silhouette of the back of Master Yoda’s head appears. She clearly feels it is finally time to address the council. We are left in suspense if she actually confesses to Yoda or tells him the same lie that she just told the Republic.

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The Acolyte - Season 1 Review

The Acolyte’s overarching story has just begun. We are left with far more questions than answers. I’ll let you decide if that is a satisfying way to end a season. We are teased with Darth Plagueis and can finally see how he, and eventually Palpatine come to study the ability to cheat death/create life. A temptation that we eventually see lure Anakin Skywalker to the dark side. There is true potential for a far greater story yet to be told.

Storywise, I think we spent far too much time exploring the twins’ origin and the Brendok conflict. Yes, they have an important background that will likely be crucial to future seasons, but the most compelling part of this story, for me at least, are the sith. I would have liked far more backstory into Qimir and Plagueis. No doubt, we will get more of that to come, but the Brendok arc dragged on for far too long this season. The mystery behind Vernestra was a strong point for me. We are left with a lot of suspense in a good way.

Master Sol, brilliantly played by Lee Jung-jae was my favorite character and I was blown away by the emotional depth he was able to achieve through his performance. Sol’s death truly hit hard and that is a testament to Jung-jae’s performance. Qimir, played by Manny Jacinto, was also very compelling and his commitment to the quirkiness of his character was a fascinating dynamic. Amandla Stenberg’s performance suffered to me through no fault of her own. Having to play two leads as the same person and being edited together in post was noticeably choppy. There were times when that decision took me out of the moment the show runners were trying to create.

As you can see from the synopsis and review thus far, this show has some really interesting themes. We have never seen a Star Wars story like this before. And that is a good thing. That said, much of those positives get lost behind some pretty questionable production decisions.

Most glaring are the episode lengths and pacing. Transitions in this show are very jarring, fast paced, and abrupt. I found myself constantly being taken out of the drama and suspense with how quickly it moved. Speed isn’t always a bad thing, but sometimes the best way to let emotion develop is to take things slow. Additionally, far too many times did Headland use the trope of running away and/or passing out to progress the story. We see it when Osha is initially force pushed to the side by Qimir in episode 4. We see it again in episode 5 as a way to switch the twins, in episode 7 to lead the Jedi into the witches coven, and again we see it in episode 8 to separate Mae and Sol. The more and more the same plot device is used, the less believable it becomes. This was the case here.

Flashbacks episodes. The bane of my existence. With short episode lengths and quick 8-episode seasons, nothing is more jarring than two entire flashback episodes that seemingly tell the same story twice. It leaves just 6 episodes to progress the present-day story and to me, that is simply not enough time. It would have been far more effective to have the Brendok flashbacks, particularly the ones from episode 7, worked into the story throughout episodes 5-8. As a viewer, I felt like all the momentum that was leading up to the finale was instantly drained when we didn’t progress the story in episode 7 and went entirely back in time. This just wasn’t my style.

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Addressing Some Misconceptions

To address some things I have seen circulating online. No, this show does not break canon. This is why it is important to watch a full season before jumping to conclusions. Vernestra clearly covers everything up and Sol, the only remaining Jedi with knowledge of Qimir’s red lightsaber, is now dead. It will be interesting to see how much Yoda is told and how he eventually learns the “rule of two.” There is definitely more to come.

Additionally, the complaints that Ki-Adi-Mundi and Darth Plagueis’ ages are canonically incorrect is also wrong. When Disney acquired Star Wars, every single piece of Star Wars media that wasn’t the first six films and The Clone Wars was made into what they call “legends” material, or non-canon. In other words, anything that George Lucas did not directly work on before selling to Disney is not canon. Which, by the way, was how he saw things too. If the now legends stories had been recognized as canon, the prequels would conflict with canon, the sequels would conflict with canon, as well as The Mandalorian, Andor, Ashoka, etc. Headland, just like every showrunner, is free to interpret ages and backstories as she see’s fit. It does not conflict with anything. Period.

That said, there are some fantastic novels from legends, none better than Darth Plagueis by James Luceno. It would be a shame if the Plagueis we now know will come in season 2 doesn’t have the same backstory from that novel.

Final Thoughts

The Acolyte has some very interesting storylines and themes. This makes it quite a unique and fresh take on Star Wars. That said, it was not the most pleasant watch. I often felt like this had the least “Star Wars feel” than any other Star Wars project. For the reasons I outlined above and other little things like an end-credit pop song, different lightsaber blade technology, and the show’s structure. None of it is that big of a deal in a vacuum, but it just wasn’t my cup of tea. I love Star Wars, and will always love Star Wars. I will watch and celebrate every project like this one. This has been an incredibly difficult score to give out, but I think it is very fair.

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The Acolyte: Season 1 is available to watch today on Disney+. You can check out all my other reviews at Blitz’s Backlot.