Hyperspace Theories

Beginning immediately on the heels of Star Wars Celebration Japan 2025, the second season of the Disney+ streaming series Andor, now carrying the same A Star Wars Story subtitle as Rogue One, kicked off its four-week run with its first trio of episodes. The premiere and its title, "One Year Later," sets the framework for Season Two: as each "a movie a week" batch of three episodes brings us a year closer to Rogue One, several interweaving plots advance the characters arcs of Andor's expansive cast. On this episode of Hyperspace Theories podcast, Tricia Barr and B.J. Priester analyze the first story arc of Season Two by breaking down how each of the four subplots reveals more of the world-building and characterization that drive the story forward. We begin with Cassian Andor examining how his character has evolved since the events of Season One and the lessons he learns in his mission-gone-awry from a Sienar facility to the Yavin IV jungle to his fateful return to his Ferrix friends. The other major plotline features Mon Mothma and the ostentatious wedding for her daughter on Chandrila, which brings with it considerable interpersonal drama for the family and for the still-perilous groundwork for the burgeoning Rebellion. On Mina Rau, the Ferrix expatriates confront the iron grip of the Empire through the lens of unexpectedly timely themes of refugees, undocumented residents, and the risks of exploitation and oppression they face. Similar themes appear in the final subplot, the Imperial characters who shift from hunting rebels to plotting far greater atrocities on Ghorman, all the while planning to use propaganda and manipulation to conceal the truth. Along the way, we also discuss the color palette used in the costume design for these episodes. Deliberately recurring hues cutting across the storylines indicate important thematic parallels in more subtle visual ways – and also, perhaps, hint toward events to come in future episode arcs.

On the latest episode of Hyperspace Theories podcast, hosts Tricia Barr and B.J. Priester report from Star Wars Celebration Japan on the latest news and happenings. Highlights from key panels - The Mandalorian and Grogu, Andor Season 2, Ahsoka, Star Wars Animation 25th Anniversary - are discussed. Let's celebrate Star Wars!

On this episode of Hyperspace Theories podcast, Tricia Barr and B.J. Priester detour from our usual focus on fictional storytelling to discuss an instance of real-world events and surrounding narratives in the form of journalistic coverage of the upcoming retirement of Kathleen Kennedy from her current role as president of Lucasfilm. On February 24, 2025, experienced Hollywood journalist Matt Belloni at Puck reported that “Kathleen Kennedy has informed Disney, as well as friends and associates, that she will exit as Lucasfilm president by the end of the year, per three sources.” Two of the three longstanding Hollywood trades, The Hollywood Reporter and Variety, quickly corroborated the reported, followed soon after by articles considering potential replacements as Lucasfilm's leader. Then, on February 27, the other major trade, Deadline, ran an extended written interview with Kennedy. Although framed as a debunking of Belloni's reporting, its substance actually verified the fundamental accuracy of his information while presenting a narrative of Kennedy's aspirations to remain an important participant in Star Wars movies after her successors takes over. In addition to closely examining the wording of the reporting and the interview for their accurately interpreted meaning, we also consider the implications of these revelations for the future of Lucasfilm and cinematic storytelling in the Star Wars franchise in the years ahead. Media Articles: Matt Belloni, Kathleen Kennedy to Step Down at Lucasfilm (Puck; Feb. 24, 2025) Matt Belloni, What I'm Hearing: Oscars Politics, Zaz's Split Motive & More Kathy Kennedy (Puck; Feb. 28, 2025) Aaron Couch, Lucasfilm Boss Kathleen Kennedy Expected to Retire This Year (The Hollywood Reporter; Feb. 24, 2025) Rebecca Rubin & Brett Lang, ‘Star Wars' Boss Kathleen Kennedy Planning to Exit Lucasfilm at the End of 2025 (Variety; Feb. 25, 2025) Borys Kit & James Hibberd, Disney's ‘Star Wars' Succession Problem: Who Will Replace Kathleen Kennedy? (The Hollywood Reporter; Feb. 25, 2025) Brett Lang & Rebecca Rubin, Who Will Run ‘Star Wars' After Kathleen Kennedy Leaves? One of Hollywood's Hottest — and Hardest — Jobs Opens Up (Variety; Feb. 25, 2025) Mike Fleming Jr., Kathleen Kennedy Speaks On Her Lucasfilm Plans — She Is Not Soon Retiring — & The Films That Will Keep Her In ‘Star Wars' Orbit For Years To Come (Deadline; Feb. 27, 2025) Related Links: Ten Years of Hyperspace Theories (Oct. 2024) Dave Filoni Talks Writing AHSOKA and Guiding the Future of Star Wars Storytelling (June 2024) Hyperspace Theories: Starting 2024 with the Future of Star Wars (Jan. 2024) Now Filoni is the Master (Nov. 2023)

Ahoy, mateys! Pirates, pirate ships, and a search for lost treasure have returned to Star Wars – and so has the familiar story structure, complete with a boring home planet (A New Hope) and ten-year-old (The Phantom Menace) protagonists flung into a very unexpected adventure in the wider galaxy. On this episode of Hyperspace Theories, Tricia Barr and B.J. Priester examine the first four episodes of Skeleton Crew to unpack the story structure, character arcs, and themes unfolding in the first half of the new Disney+ streaming series. Although the story structure of Skeleton Crew draws from the monomyth that undergirds much of Star Wars, the series also draws inspiration from other 1980s films that followed a similar pattern with younger protagonists, including The Goonies and E.T.: The Extra-Terrestrial. Initially the schoolchildren simply want to get back home right away, but soon find themselves jumping repeatedly through hyperspace from one destination to the next. The four kid leads – Wim, Fern, Neel, and KB – have clearly drawn personalities and motivations, seemingly inspired by the varying common experiences of Gen-X youths in the '80s, such as the latchkey kid fending for himself, the academically demanding mother, single-parent families and two-parent households, and only children or larger families. Their adult ally and guide, Jod Na Nawood (if that is even his real name …), presents his own puzzle of goals and dreams as he helps the kids chart their journey back to At Attin, while further reinforcing connections with more piratical source material like Treasure Island. We also discuss the world-building developed in Skeleton Crew through four episodes. Much remains mysterious about At Attin, the Jewels of the Old Republic, the Great Work and the Supervisor, and the connection between the children's homeworld and SM-33's long-buried pirate ship and long-lost captain. Drawing upon the pirate fiction and real-world pirate history, we speculate about how these questions might be answered in the latter half of the series. Related Links: Fangirls Going Rogue: SKELETON CREW Showrunner Interview Fangirls Going Rogue Interviews Cast of SKELETON CREW Fangirls Going Rogue: SKELETON CREW Mysteries!

Continuing our recent witchy trend on Hyperspace Theories alongside our discussion of Agatha All Along, this episode discusses the movie Wicked: Part I, which broke box office records in its first week of release. Tricia Barr and B.J. Priester begin with a common focus of the podcast: the storytelling structure of the movie, and how it compares and contrasts with the Broadway musical that the films adapts. Director Jon M. Chu maximizes the opportunity of the movie medium to broaden the visual storytelling for the characters, themes, and world-building beyond what is possible on a Broadway stage, while leaving the plot and iconic musical numbers in place. Yet the movie adaptation of Wicked doesn't hesitate to make changes to take advantage of the movie medium, either, such as using close-ups on faces to enable emotional performances and greater vocal dynamic range that wouldn't work on stage. We then examine the character arcs of the two leading ladies of Wicked, Elphaba (Cynthia Erivo) and Glinda (Ariana Grande), particularly their motivations and wants within the story and the contrasting impulses of selflessness and selfishness. In Wicked, these character arcs are inseparable from the broader themes of the story, including oppression, resistance, and historical and political allegory. We consider how those themes have roots not only in the 2003 Wicked musical, but also Gregory Maguire's 1995 novel Wicked: The Life and Times of the Wicked Witch of the West, which initiated the storytelling twist on the classic American mythic tale presented in the iconic and beloved The Wizard of Oz (1939) movie and The Wonderful Wizard of Oz (1900) novel by L. Frank Baum.

In this podcast episode, Tricia Barr and B.J. Priester consider the recently released MCU Disney+ series Agatha All Along from the perspective of long-running themes at FANgirl Blog and Hyperspace Theories: the influence of myth and heroic journeys on contemporary storytelling and how contemporary storytelling is evolving those ideas, especially in stories told by women and other creators from diverse and marginalized backgrounds. The story structure of Agatha All Along itself is built around the idea of an evolving myth, the “Ballad of the Witches' Road” song, which appears in multiple iterations over the course of the series. We then discuss the character arcs of Agatha Harkness and Billy Maximoff through the frame of the Maiden Mother Crone triptych that is central to the series, and to longstanding lore about witches and other female archetypes. We also examine how Agatha All Along draws upon familiar elements of storytelling frameworks like the Hero's Journey and Heroine's Journey while also breaking from tropes and expectations in telling the tale of a centuries-old witch and a twenty-first century American teenager.   Related Links: ‘Agatha All Along' Boss Jac Schaeffer Talks Episode Four's Reveal and Mephisto: “That Is Larger Than Me and This Show” (The Hollywood Reporter; Oct. 7, 2024) ‘Agatha All Along' Showrunner Teases ‘Lots More' Coming for Agatha and Rio – and Whether We Should Trust That Reveal About Teen (The Wrap; Oct. 7, 2024) ‘Agatha All Along' Showrunner Unpacks Episode 5: Wiccan, Agatha's Mom and the Shorter Runtime (The Wrap; Oct. 14, 2024) Billy Maximoff Returns: Joe Locke and ‘Agatha All Along' Creator on Hiding His Identity, ‘Wacky' Fan Theories and Bringing Back [SPOILER] From ‘WandaVision' (Variety; Oct. 18, 2024) ‘Agatha All Along' Showrunner Talks Billy's Backstory, Evan Peters' MCU Return & What's To Come On The Witches Road (Deadline; Oct. 18, 2024) ‘Agatha All Along' Showrunner Talks Episode 6: Billy's Backstory, Agatha's Secret and That Cameo (The Wrap; Oct. 18, 2024) ‘Agatha All Along' Creator on Directing Patti LuPone's Mind-Bending Episode, Revealing [SPOILER]'s True Identity and Who Is Really Dead (Variety; Oct. 25, 2024) ‘Agatha All Along' Showrunner Unpacks Lilia's Trial, Rio's Reveal And More Ahead Of Final Two Episodes (Deadline; Oct. 25, 2024) ‘Agatha All Along' Showrunner Unpacks Time-Tripping Episode 7: Patti LuPone on Wires, Wanda and That Death Reveal (The Wrap; Oct. 25, 2024) ‘Agatha All Along' Showrunner Jac Schaeffer On Sticking The Landing With Final Episodes & What's To Come For Billy (Deadline; Nov. 1, 2024) ‘Agatha All Along' Creator Explains Shocking Finale Twists, Agatha and Rio's Backstory, Nicholas Scratch's Father and Why There's No Post-Credits Scene (Variety; Nov. 1, 2024) Agatha All Along creator clarifies the Tommy moment and where the Road goes from here (EW; Nov. 1, 2024) After That Shocking ‘Agatha All Along' Finale Twist, Sasheer Zamata Discusses Jen's Reaction and Her Potential MCU Future (Collider; Nov. 1, 2024) Agatha's Fate Was Decided From the Beginning in ‘Agatha All Along' (Collider; Nov. 1, 2024) ‘Agatha All Along's Showrunner Breaks Down the Finale's Reveals and Twists (Collider; Nov. 1, 2024) Agatha Is Not “The Hero of Her Own Story,” Says Creator (Collider; Nov. 2, 2024) ‘Agatha All Along' Boss Jac Schaeffer on Forgoing Wanda in Finale: “It Didn't Feel Fair to Agatha” (The Hollywood Reporter; Nov. 4, 2024) “I will die on that hill”: Jac Schaeffer Will Never Accept One ‘Agatha All Along' Criticism Even After Revelation That Billy Maximoff Opened the Road (FandomWire; Nov. 6, 2024)

It's been ten years since FANgirl Blog launched the Hyperspace Theories podcast. On the latest episode, Tricia Barr and B.J. Priester look back on the podcast's evolution from its origin in discussing how to speculate wisely on upcoming Star Wars stories to a broader consideration of storytelling, character arcs and the Hero's Journey, and franchise management. We reminisce about our favorite episodes of the podcast over the years. After looking back, we turn to the present and future of the franchise through the lens of two recent articles in major Hollywood trade publications. James Hibberd's lengthy essay in The Hollywood Reporter asks “Is Disney Bad at Star Wars?” offers a fair assessment of the strengths and weaknesses of the past decade of the franchise, ultimately concluding that it's not bad but it could do better. The timing of the article's publication also is notable for two reasons. First, although it studiously avoids placing blame on particular named individuals, it renders an unusually critical perspective on Star Wars after years of the trades avoiding doing so. Second, it follows an unannounced but publicly visible change to Lucasfilm's leadership structure: the elevation of Lynwen Brennan from Executive Vice President to President, a change with significance beyond simply a promotion in her title. We consider the implications of these developments for what further changes can be expected at Lucasfilm. We then discuss Adam B. Vary's article “Toxic Fandom: How Hollywood Is Battling Fans Who Are ‘Just Out for Blood' — From Social Media Boot Camps to Superfan Focus Groups,” which was published in Variety on the same day. Among other franchises mentioned in the article, Star Wars has a mixed record in this area, too. Vary's article wisely distinguishes between criticism (or praise) of a work by fans based on the substance of the story on the one hand, and abusive behavior driven by agendas (and monetization) unrelated to the merits of quality or stewardship – although the article also makes clear that studios and their executives may not consistently pay attention to this distinction. We conclude by looking ahead to some of the topics for discussion on future episodes of Hyperspace Theories, including The Bad Batch Season Three, Agatha All Along, the Wicked movie, Skeleton Crew, and more.   Related Links: Is Disney Bad at Star Wars? An Analysis (The Hollywood Reporter; Oct. 3, 2024) Toxic Fandom: How Hollywood Is Battling Fans Who Are ‘Just Out for Blood' — From Social Media Boot Camps to Superfan Focus Groups (Variety; Oct. 3, 2024)

The Marvel Cinematic Universe accomplished an unprecedented track record of box office earnings, followed by an uneven phase that included a few box office miscues and a mixed reactions to its span of Disney+ streaming series. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss two MCU series that had lower profiles in fan attention and viewership, but much to consider in what they got right in their storytelling: the binge-dropped live-action series Echo and the animated series What If? released weekly in its second season. Most significantly, both series featured stories with female leads that drew heavily upon elements of Heroine's Journey stories rather than repeating the long-familiar tropes of male-centered superhero tales. More than a decade ago, prior to the release of the first film in The Hunger Games series, producer Nina Jacobson highlighted a core aspect of the story of Katniss Everdeen: that she is a nurturing heroine rather than a conquering hero. In a similar vein, Captain Carter and Kahhori are heroes motivated by protection rather than power, and Hela and Gamora shift from conquering to nurturing motivations. In Echo, Maya begins the story seeking revenge and power, and ends it dedicated to protecting her family and community. Similarly, the Campbellian Hero's Journey traditionally focuses on a solo hero (who may have some allies), while contemporary Heroine's Journey stories portray her as the center of a team, rejecting savior tropes in favor of collective action and shared success. Captain Carter leads teams of supers in both seasons of What If? and Maya's story progresses from a solo vengeful quest spawned by men who kept her isolated from her family into a finale in which she prevails with a team of allies who help her restore bonds of family. We also note similar themes with Omega and her brothers in Star Wars: The Bad Batch. Outside the parameters of the stories themselves, What If? and Echo also provide lessons for Star Wars and other franchises. For one, they reinforce the importance of who creates or writes the story. What If? and The Bad Batch were led by women showrunners, while Echo had two women as head writers, other women on the writing staff, and five episodes directed by women, including four by Sydney Freeland, a Navajo filmmaker. Their perspectives bring a voice and authenticity that comes through in the storytelling. In addition, both series also serve as a reminder that lore and source material only go so far: telling the best story is what matters. The alternate-universe multiverse of What If? demonstrates clearly how departing from the MCU's “Sacred Timeline” can generate compelling and impactful stories that would be impossible within a single continuity – even going so far as to create a new character, Kahhori, who had not existed anywhere in the thousands of pages across decades of Marvel Comics. And although Maya Lopez originated in the comics, the Echo heroine we watch in Echo is changed in significant ways from that version of the character, reframing her characterization to increase the importance of her matrilineal ancestors and her powers to a more protective and defensive rather than combative emphasis – making her far more interesting as a comparison and contrast to the prior heroes in the MCU. Related Links Journey of a Strong Female Heroine: Katniss Everdeen (March 2012) Team Katniss: Collaborative Success in The Hunger Games (March 2012) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.

On this episode of Hyperspace Theories, Tricia Barr and B.J. Priester examine the Disney+ live-action series Star Wars: The Acolyte through the lens of recent Lucasfilm's brand management struggles, especially with the Star Wars franchise. We begin with the strengths of The Acolyte that we want to praise, including the fight choreography, the performances of the cast, and the diversity, inclusion, and representation the series demonstrates both in front of and behind the camera. When it comes to The Acolyte‘s weaknesses, the problem of brand management is the central dynamic. We consider how The Acolyte portrays the character arcs of Osha and Mae and their relation to the dark side of the Force in a manner that is dissonant with the overall themes of the franchise and George Lucas' films in particular. Similarly, The Acolyte portrays Jedi characters, and the Jedi Order as an institution, in a way that does not align with the brand's longstanding messages. We also discuss other brand management issues, including Lucasfilm once again struggling with the marketing and setting audience expectations and with balancing the creative freedom of individual storytellers with the need to restore and maintain audience trust in the franchise. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.

Before turning to the currently releasing third season of Star Wars: The Bad Batch, Hyperspace Theories podcast returns to the concluding episodes of Season Two. Having previously analyzed the first ten episodes, Tricia Barr and B.J. Priester discuss episodes 11 through 16, starting with “Metamorphosis” and “The Outpost” and ending with Tech's (apparent) self-sacrifice by implementing the tragic “Plan 99” during the squad's fateful mission to Tarkin's base on Eriadu. On the theme of metamorphosis and transformation, we consider the introduction of Doctor Hemlock as the Batch's new primary antagonist, the significance of Crosshair's realization that the clones are expendable to the Empire, how the Batch's experience on Pabu provides a new perspective for their understanding of their place in a changing galaxy, and the increasing stakes for the Bad Batch and all of the clones as the threat posed by Hemlock becomes clearer. We also examine the visual symbolism throughout these episodes, particularly the significance of water and Crosshair's ice vulture, as well as the themes presented in the sometimes conflicting motivations of the Bad Batch, Rex and Echo, Saw Gerrera, and within the Empire itself. Related Links: Hyperspace Theories: The Separatists in The Bad Batch (Jan. 2023) Hyperspace Theories: Story Structure and Character Development in The Bad Batch Season Two (Feb. 2023) Hyperspace Theories: Facing Ordeals in The Bad Batch (Feb. 2023)

Hyperspace Theories kicks off 2024 with a new episode analyzing recent developments that appear to chart a new course for the future of Star Wars. Tricia Barr and B.J. Priester begin with the November 2023 news, first revealed in a Vanity Fair article by longtime Star Wars and entertainment journalist Anthony Breznican, that Dave Filoni has been promoted to the position of Chief Creative Officer at Lucasfilm. We discuss what a CCO role entails and how Filoni's position compares to other CCO roles within The Walt Disney Company overall. Filoni also now holds the title of Executive Vice President, a rank he shares with three women in Lucasfilm's leadership team, including his trusted producer Carrie Beck. We then discuss Lucasfilm's press release from January 9, 2024, announcing that the first new theatrical Star Wars project into production is not one of the three films mentioned by Lucasfilm president Kathleen Kennedy at Star Wars Celebration Europe in April 2023, but rather The Mandalorian & Grogu directed by Jon Favreau. We examine the carefully worded press release and consider what it reveals about a fourth season of The Mandalorian and a second season of Ahsoka as Disney+ streaming series. We conclude with several implications from the upcoming Season Three of The Bad Batch animated series, particularly the surprise appearance of fan-favorite antagonist Asajj Ventress from The Clone Wars. Related Links: Now Filoni is the Master (Nov. 2023) Star Wars Undertakes Universe-Shaking Changes After Ahsoka (Vanity Fair; Nov. 2023) The Mandalorian & Grogu Journeys to the Big Screen (StarWars.com; Jan. 9, 2024) Lessons in Franchise Management – MCU: The Reign of Marvel Studios (Jan. 14, 2024) Watch the Star Wars: The Bad Batch Season 3 Trailer (StarWars.com; Jan. 22, 2024)

The epilogue montage of the recently concluded Ahsoka series on Disney+ included a surprising and exciting image: former Jedi turned antagonist Baylan Skoll standing amid colossal statues of the Father, Son, and (partially destroyed) Daughter of Mortis. These mysterious and powerful “Force Wielders” have a long connection to Ahsoka mastermind Dave Filoni: they interacted with Anakin Skywalker, Ahsoka Tano, and Obi-Wan Kenobi in the Mortis trilogy (2011) in the third season of The Clone Wars animated series, for which Filoni served as supervising director under George Lucas, and then appeared as Jedi temple iconography in the penultimate duology (2018) of the Star Wars Rebels animated series, which was co-created and overseen by Filoni. As his segment of the montage ends, Baylan gazes upon a mountain range with a distant hovering light, a visual that closely resembles the Father's monastery on Mortis. While this brief glimpse only hints at possible implications for future stories involving Baylan, Ahsoka, and other characters from the Ahsoka series, the reappearance of Mortis imagery provides the perfect opportunity to delve further into a topic we've long wanted to talk about on Hyperspace Theories. In this episode, Tricia Barr and B.J. Priester discuss the Mortis trilogy from The Clone Wars and the symbolic, thematic, and philosophical ideas about Star Wars that Lucas used these episodes to explore – and that Filoni drew upon in multiple ways during the Ahsoka series. Tricia elaborates how the Mortis trilogy as a whole, and the choices and fates of the Force Wielders in particular, serve as an allegory for the causes of the fall of the Jedi Order during the Prequel Trilogy. We also examine, at the character level, the ways in which the Mortis trilogy represents Anakin's fate – and Ahsoka's future.   Related Links: Metaphors of Mortis (Feb. 10, 2011) Hyperspace Theories: Masters, Apprentices, and Witches in AHSOKA Premiere (Aug. 26) Hyperspace Theories: Anakin and Ahsoka Reunite (Sort Of) in AHSOKA's Belly of the Whale (Oct. 8) Hyperspace Theories: AHSOKA Tackles the Jedi, the Force, and the Future of Star Wars (Oct. 16) Now Filoni is the Master (Nov. 24) Adam Driver Confirms The Rise of Skywalker Changed Kylo Ren's Character Arc (Dec. 14)

The Ahsoka series on Disney+ has reached its finale. On this episode of Hyperspace Theories, Tricia Barr and B.J. Priester analyze the storytelling in Part Six “Far, Far Away,” Part Seven “Dreams and Madness,” and Part Eight “The Jedi, the Witch, and the Warlord” and consider what Ahsoka establishes for the future of Star Wars tales. We begin by examining the conclusions to the character arcs of Ahsoka Tano and Sabine Wren, and their relationship as master and apprentice. With Ezra Bridger reunited with his old friends, the series portrays three different perspectives on what it has meant and can mean to be a Jedi. On the other hand, Shin Hati parts ways with her master and starts the journey of finding her own path. In addition, we discuss the character arcs of other key players, including Baylan Skoll, Hera Syndulla, Morgan Elsbeth, and of course the series' nemesis, Grand Admiral Thrawn. The third act of Ahsoka also leans into the mythology of Star Wars, especially the deeper themes about the Force. Sabine may not be a naturally gifted wielder of the Force, but her years of training with Ahsoka and her willingness to open her mind to its possibilities ultimately manifest in her use of telekinetic energy. Despite his years in isolation from other Jedi, Ezra is confident with the Force as his ally, and their cooperation is part of what inspires Sabine to unlock her own potential. Even as a Master, Ahsoka has more to learn, and by the end of the final episode she has found her own serenity by supporting her apprentice and finding serenity in knowing that they are where they supposed to be. Which may have something to do with the conclusion of Baylan's quest: reaching giant statues of the Mortis overlords and gazing upon a distant light last seen in that mystical realm. While Thrawn's return to the main galaxy heralds political and military conflict to come, the tale of the Jedi and the Force on Peridea has much more to offer, as well. The Ahsoka series premiered and aired on Disney+ during the concurrent ongoing strikes against Disney and other major Hollywood studios by unions representing the writers (WGA) and actors (SAG-AFTRA) who are indispensable to their productions. Accordingly, neither Filoni nor any of the actors in Ahsoka could participate in promotional interviews or other marketing for the series (although they appear in material previously recorded, such as interviews at Star Wars Celebration in April, that is shared by Disney or entertainment journalists). Aside from its value in raising the visibility of the series to the prospective audience, such interviews with talent often provide fascinating insight into the storytelling process, characterization and motivations, and the themes and values underlying a series. We are disappointed that the studios have denied the talent the opportunity to participate in the excitement of the series launch, and the fans and audience the ability to share in their enthusiasm and learn from it, through their unwillingness to agree to reasonable terms relating to changing technology, shifts in production and distribution within the industry, and a fair sharing of billions of dollars in global profits with those who make those profits possible in the first place. Despite the ongoing strikes, the unions have not called for a boycott of the studios: they encourage fans and audience to watch newly released films and series (to demonstrate their value and profitability) and have clarified that non-promotional activities such as reviews, criticism, and analysis are not inconsistent with the terms of the strike. At FANgirl Blog and Hyperspace Theories, we intend to discuss Star Wars (and other projects from the struck studios) in solidarity with the unions and in conformity with their approved official guidance. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.

Tricia Barr and B.J. Priester return for another episode of Hyperspace Theories discussing the Ahsoka Disney+ series, specifically the second act of the story: Part Three “Time to Fly,” Part Four “Fallen Jedi,” and Part Five “Shadow Warrior.” Often Star Wars is at its best when it advances not only the character arcs of its principals, but also the mythology of the franchise, The episodes of Ahsoka, and “Shadow Warrior” especially, mark a great success in that tradition. As we mentioned in our previous episode discussing the two-part premiere, Ahsoka has excelled at representation and inclusion, particularly compared to Star Wars' less than stellar historical track record. In late September, the Women's Committee of the Critic's Choice Association (CCA) announced that it would be honoring Ahsoka with the Seal of Female Empowerment in Entertainment (SOFEE), which “recognizes outstanding new films and television series that illuminate the female experience and perspective through authentically told female-driven stories.” The press release noted that Ahsoka had achieved “a perfect score in the numerical formula” which evaluates whether nominated projects “have a prominent female character arc, give female characters at least equal screen time to male characters, have female leaders behind the scenes, and pass elements highlighted in the Bechdel test.” Congratulations to Carrie Beck, Dave Filoni, and the other leaders behind Ahsoka for their contributions to making this kind of recognition possible for a Star Wars project. The second act of Ahsoka places the characterization focus on the titular character and the personal and spiritual journey she undertakes. “Time to Fly” and “Fallen Jedi” reveal the ways in which Ahsoka Tano, despite her age and experience, still faces the emotional legacy of her past and still struggles to follow herself the Jedi lessons she imparts to Sabine. In “Shadow Warrior” her near-death experience compels her to face her deepest traumas and fears – and to finally truly confront her feelings toward former Master, Anakin Skywalker, and his fate as Darth Vader, and what it means for Ahsoka to have been trained by him. After her rescue and return to land on Seatos, she has rediscovered her true self and made the transition, inspired by Tolkein's Gandalf, from Ahsoka the Gray to Ahsoka the White. In the Hero's Journey monomyth described by Joseph Campbell, a recurring topic on Hyperspace Theories, the Belly of the Whale marks a key metamorphosis from the hero's ordinary existence to their extraordinary adventure. For Ahsoka, her ascension to her Wizard's Journey requires such a transformation – and its culmination is indicated, literally, by her passage into the open mouth of a gigantic, ancient purgill. These episodes of Ahsoka also present interesting perspectives on the Force, and what it means to be a Jedi, through other characters including Sabine, Hera, Jacen Syndulla, Huyang, and Baylan Skoll. All of these ideas are juxtaposed against Ahsoka's concurrent personal journey, and all of them pay off in the third act of the series. Check back soon for our next episode of Hyperspace Theories analyzing those episodes in depth. Related Links: “AHSOKA” to receive the Seal of Female Empowerment in Entertainment (SOFEE) (Critic's Choice Association; Sep. 24, 2023) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com The Ahsoka series premiered and aired on Disney+ during the concurrent ongoing strikes against Disney and other major Hollywood studios by unions representing the writers (WGA) and actors (SAG-AFTRA) who are indispensable to their productions. Accordingly, neither Filoni nor any of the actors in Ahsoka could participate in promotional interviews or other marketing for the series (although they appear in material previously recorded, such as interviews at Star Wars Celebration in April, that is shared by Disney or entertainment journalists). Aside from its value in raising the visibility of the series to the prospective audience, such interviews with talent often provide fascinating insight into the storytelling process, characterization and motivations, and the themes and values underlying a series. We are disappointed that the studios have denied the talent the opportunity to participate in the excitement of the series launch, and the fans and audience the ability to share in their enthusiasm and learn from it, through their unwillingness to agree to reasonable terms relating to changing technology, shifts in production and distribution within the industry, and a fair sharing of billions of dollars in global profits with those who make those profits possible in the first place. Despite the ongoing strikes, the unions have not called for a boycott of the studios: they encourage fans and audience to watch newly released films and series (to demonstrate their value and profitability) and have clarified that non-promotional activities such as reviews, criticism, and analysis are not inconsistent with the terms of the strike. At FANgirl Blog and Hyperspace Theories, we intend to discuss Star Wars (and other projects from the struck studios) in solidarity with the unions and in conformity with their approved official guidance.

The circle is now complete. Dave Filoni, longtime storytelling Padawan to George Lucas, has been Executive Creative Director for Star Wars for three years and played an instrumental role in the creation and progression of The Mandalorian streaming series. With Ahsoka, the latest live-action Disney+ series from Star Wars, Filoni not only leads the project in full – he wrote all eight episodes and directed the first (and fifth) – but also brings the erstwhile Jedi apprentice from key member of ensemble casts to titular character and central figure. Over the past fifteen years, from The Clone Wars to Star Wars Rebels to Mando and Grogu to Ahsoka, Filoni and Tano have traversed similar paths. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester share our reactions, review, and analysis of the two-episode Ahsoka premiere, “Master and Apprentice” and “Toil and Trouble.” We begin with our praise for the representation and diversity in the cast of Ahsoka. After more than a decade at FANgirl Blog criticizing Star Wars for its often poor track record in that regard, it is thrilling to watch a series in which the “big three” lead protagonists are all women (Ahsoka, Sabine, and Hera) and two of the three antagonists (Morgan and Shin, with Baylan) are women, too. Ahsoka also features women of color in four of those six roles, as well as actors of color throughout the supporting cast. Turning to the storytelling, we discuss the parallels between Baylan and Shin, with their orange lightsabers and a familiar Padawan braid, and the tutelage relationships between Ahsoka and Sabine and, previously, Anakin and Ahsoka. We also examine how Filoni draws upon all aspects of Star Wars storytelling, including elements from the Original Trilogy, the Prequel Trilogy, and the Legends tales of the Expanded Universe, as well as more recent Star Wars productions. With Morgan Elsbeth confirming her connection to the Nightsisters, also known as the Witches of Dathomir – something we had speculated about after her initial appearance in The Mandalorian – we consider what Ahsoka may have to say about the Jedi, the Sith, individuals who are not-quite-Jedi or not-quite-Sith, and other ways Star Wars characters might perceive or wield the Force. This idea is especially interesting in light of Professor Huyang's emphasis to Sabine Wren that, while she may not be strong in the Force, she can still train in and follow the ways of the Jedi. We conclude with some brief speculations, informed by footage from the trailer and teasers that did not appear in the premiere episodes, on how the story might unfold in the remaining six. The Ahsoka series premiered on Disney+ during the concurrent ongoing strikes against Disney and other major Hollywood studios by unions representing the writers (WGA) and actors (SAG-AFTRA) who are indispensable to their productions. Accordingly, neither Filoni nor any of the actors in Ahsoka could participate in promotional interviews or other marketing for the series (although they appear in material previously recorded, such as interviews at Star Wars Celebration in April, that is shared by Disney or entertainment journalists). Aside from its value in raising the visibility of the series to the prospective audience, such interviews with talent often provide fascinating insight into the storytelling process, characterization and motivations, and the themes and values underlying a series. We are disappointed that the studios have denied the talent the opportunity to participate in the excitement of the series launch, and the fans and audience the ability to share in their enthusiasm and learn from it, through their unwillingness to agree to reasonable terms relating to changing technology, shifts in production and distribution within the industry, and a fair sharing of billions of dollars in global profits with those who make those profits possible in the first place. Despite the ongoing strikes, the unions have not called for a boycott of the studios: they encourage fans and audience to watch newly released films and series (to demonstrate their value and profitability) and have clarified that non-promotional activities such as reviews, criticism, and analysis are not inconsistent with the terms of the strike. At FANgirl Blog and Hyperspace Theories, we intend to discuss Star Wars (and other projects from the struck studios) in solidarity with the unions and in conformity with their approved official guidance.

On the latest episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss Chapters 20 to 24 of The Mandalorian, the five episodes comprising the middle and end of Season Three. (In our previous episode we talked about Chapters 17 to 19, the trio that began the season.) Overall, the theme of our analysis is the inconsistencies that seem to pervade Season Three from start to finish. Despite that dynamic, we found much to enjoy and praise in Season Three. After the first three episodes focused on themes of identity, the remaining five episodes carried them forward on multiple levels. Bo-Katan's character arc reaches fulfillment in her alliance with the Armorer, reacquisition of the Darksaber, regaining leadership of her erstwhile fleet, and leading the reconquest of the planet Mandalore. The Darksaber is destroyed, but a new symbol of unity is found: Bo-Katan, fulfilling her declaration to Moff Gideon that “Mandalorians are stronger together” during their climactic showdown, joins the Armorer to reignite the Great Forge. The discordant factions have set aside their differences for a greater collective purpose. Grogu, too, has synthesized his Jedi training and Mandalorian family, breaking up a fight between Mandalorians, using the Force for defense in combat, and formalizing his adoption as Din Djarin's son (with the Armorer bestowing the name Din Grogu in recognition). In other ways, however, Season Three struggles with inconsistency in the plotlines and character arcs. Although Din nominally retains the role of titular character in The Mandalorian, he is given a passive role with no meaningful character development after Chapter 18. Perhaps this season would have been better titled as The Book of Bo-Katan to more accurately convey the story being told. Similarly, we evaluate inconsistencies in the portrayals of Bo-Katan and Grogu over these five episodes, as well as problems with the chronology of the series (both in-universe and through creator interviews), especially in conjunction with Chapters 5 and 6 of The Book of Boba Fett. From these dynamics within the story itself, we speculate about the creative process behind these episodes and wonder if key ideas were modified, eliminated, or significantly reworked during the development or production process following the conclusion of Season Two of The Mandalorian. Ultimately, while Season Three of The Mandalorian offered a good story and some fun episodes, it would have benefited from stronger writing and more consistency in the storytelling. With Andor demonstrating how skillful Star Wars series on Disney+ can be, The Mandalorian and related shows must do better to measure up. Related Links: Fangirls Going Rogue Episode 23.7: Best of Star Wars Celebration Europe Fangirls Going Rogue Priority Transmission #27: Star Wars Visions Volume 2 Press Conference Skywalking Through Neverland Episode 415: Star Wars Celebration Europe 2023 Recap Star Wars Celebration Europe 2023: Disney Parks (FANgirl Blog) Star Wars Celebration Europe 2023: Young Jedi Adventures (FANgirl Blog) Star Wars Celebration Europe 2023: The Bad Batch (FANgirl Blog) Star Wars Celebration Europe 2023: Star Wars Visions Volume 2 (FANgirl Blog) Star Wars Celebration Europe 2023: The Women of Ahsoka (FANgirl Blog)

The Mandalorian is back on Disney+ to kick off Season Three. On this episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss the characterization and storytelling developments unfolding across Chapter 17 (“The Apostate”), Chapter 18 (“The Mines of Mandalore”), and Chapter 19 (“The Convert”). By the end of these three episodes, we've learned a lot more about our central characters, yet each of them still faces profound questions about how they will choose to define, and possibly reshape, their individual identities going forward. For this season, Katee Sackoff is credited as a co-lead with Pedro Pascal, and the prominent role of Bo-Katan in these episodes definitely warrants that billing. For Din Djarin, these episodes showcase his commitment to his understanding of the Mandalorian Creed. Despite other opportunities and obligations, he insists on fulfilling his quest to bathe in the Living Waters on Mandalore to redeem himself for having removed his helmet during the events of Season Two. He succeeds, and upon returning to the covert receives confirmation from the Armorer. What remains very much an open question, however, is what Din will do next. Bo-Katan Kryze, on the other hand, experiences a very different journey. She begins the season without a purpose: she has lost her fleet, the Darksaber, and any people or place to rule – and, it seems, she has long since lost her faith in the value of the Creed. Once she departs her castle to rescue Grogu's dad, she still talks to the foundling mostly about what she has lost, rather than what she still has to live (or fight) for. Even in the chamber with the Living Waters, she can barely hold back her derision when reading the ancient plaque. Then in s short span of time she sees the Mythosaur, loses her home to Imperial bombers, and is bestowed with her own redemption under the Armorer's interpretation of the Creed. Suddenly everything has changed. Yet, like Din, Bo-Katan faces many questions about what she will choose for her path forward. In addition to the lead characters, we also examine what these episodes show the audience about Grogu and his journey, as well as the Coruscant-based storyline with Doctor Pershing, Elia Kane, the New Republic's amnesty program, and the lingering shadow of the Empire. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com  

In the previous two recordings of Hyperspace Theories, we discussed the two story arc comprising the first six episodes of Season Two of The Bad Batch. In this recording, Tricia Barr and B.J. Priester analyze the next four episodes, which bring the story through episode 10 (of 16) in this season. Building on our previous consideration of the Hero's Journey story structure in The Bad Batch, we examine how episodes 7 to 10 bring Clone Force 99 into an emotional abyss that typifies the conclusion of the second stage of the journey and the transition into the third stage. In “The Clone Conspiracy” and “Truth and Consequences,” we witness the broader political ramifications of the end of the Clone Wars and the rise of a new Imperial military as Clone Force 99 is brought into a web of secrets and intrigue through Captain Rex, along with allies Senator Riyo Chuchi and Bail Organa. Yet the stakes are also personal, including a mysterious clone assassin with no identifying number, the fate of all of their clone brothers as the clone army will be decommissioned, and the final revelation that Emperor Palpatine has schemed all along to discredit the clones and replace them with Imperial stormtroopers. These events are sure to influence how Clone Force 99 views their place in the changing galaxy. Despite the significance of that experience, in “The Crossing” and “Retrieval” the squad has reverted to their postwar baseline: another mundane assignment from Cid. Once again, the mission goes awry and endangers the squad far more than intended – and this time the Marauder is stolen in the process. Yet Cid is nonplussed by their distress call, showing no urgency to assist them. When Clone Force 99 tracks down the ship, they discover an ipsium mine run by a greedy and exploitative owner who manipulates and lies to his desperate employees. The squad reacquires the Marauder, but also makes a difference in improving the lives of the miners. The squad has made it past the worst of their ordeals, gaining more information and experience to prompt a recognition of the true nature of their relationship with Cid and how they can make a contribution in the galaxy. The Bad Batch are at their best when they're helping people – they just need to see that for themselves at last. This episodes concludes with a short discussion of storytelling analysis and speculation for Season Three of The Mandalorian, which premieres on March 1st. Related Links: REVIEW: The Bad Batch Season Two Hyperspace Theories: The Separatists in The Bad Batch Is “Faster” Filler? The Bad Batch “Tribe” and The Clone Wars Tales Told and Untold Hyperspace Theories: Story Structure and Character Development in The Bad Batch Season Two The Hero's Journey (discussing Campbell and Vogler story structures) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

On the latest episode of Hyperspace Theories, Tricia Barr and B.J. Priester consider the second set of three episodes in Season Two of The Bad Batch. These episodes – “Faster,” “Entombed,” and “Tribe” – present a trio of independent, self-contained missions for Omega and her brothers: accompanying Cid for an ill-fated gambling excursion involving riot racing, a dangerous adventure to seek an artifact in an ancient tomb with Phee, and an unexpected encounter with Gungi, a young Wookiee Jedi survivor of Order 66, that leads Clone Force 99 to conflict-scarred Kashyyyk. Although some fans have expressed confusion about the purpose of these episodes in The Bad Batch Season Two, we discuss how classic elements of Star Wars story structure help to explain the character development goals underlying these episodes – and why our protagonists seem to meet less than successful outcomes for their endeavors. As Clone Force 99 struggles to find a new identity and purpose in the galaxy, these episodes provide them with important information and experiences that can influence their thinking and decisions going forward. Along the way, we also describe why these episodes of The Bad Batch are not “filler episodes” or “bottle episodes” as those terms are used in serial television storytelling, drawing on Tricia's post about “Faster” and filler and an insightful post by Kathryn VanArendonk at Vulture. Finally, we use B.J.'s post about “Tribe” to briefly step back into the storytelling origins of The Clone Wars with George Lucas and examine how The Bad Batch pulls forward some decade-old unused ideas. This episodes concludes with our reactions to the recently released trailer for Season Three of The Mandalorian, which premieres on March 1st. Related Links: REVIEW: The Bad Batch Season Two Hyperspace Theories: The Separatists in The Bad Batch Is “Faster” Filler? The Bad Batch “Tribe” and The Clone Wars Tales Told and Untold It's Time for a Departure From ‘Bottle Episode' (Vulture) The Hero's Journey (discussing Campbell and Vogler story structures) The Mandalorian Season Three trailer (YouTube) The Mandalorian Season Three featurette “Phenomenon” (YouTube) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

The new year kicked off with the return of The Bad Batch for Season Two of the animated series. Although some time has passed since the destruction of Kamino at the end of Season One, Clone Force 99 and the galaxy as a whole are still very much living in the aftermath of the end of the Clone Wars and amid the early days of the Galactic Empire. In this context, it makes sense that the Separatists, although defeated militarily in the war, continue to have a lingering impact on the story. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester examine the role of the Separatists in the world-building and character development of The Bad Batch in the first three episodes of Season Two. The premise of “Spoils of War” and “Ruins of War” involves Clone Force 99 trying to steal a small portion of Dooku's “war chest” from his home base of Serreno. Along the way, Omega and her brothers learn important new information about the Separatist leaders, the Empire, and the impact of the war on everyday people on Separatist worlds. The third episode, “The Solitary Clone,” unfolds a similar eye-opening scenario for Crosshair. Reunited with fan-favorite Commander Cody, Crosshair can fall back into the familiar routine of blasting “clankers” and following orders to complete the mission. But he also learns first-hand that the new Empire is not interested in peace, only power, and ends the episode weighing Cody's words about choices and consequences. Related Links: REVIEW: The Bad Batch Season 2 Brad Rau and Jennifer Corbett Share Insights Into The Bad Batch Season 2 (Fangirls Going Rogue) The Bad Batch's Michelle Ang on Omega's Journey (Fangirls Going Rogue) The Bad Batch's Dee Bradley Baker (Fangirls Going Rogue) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

Across three story arcs in the first ten episodes, Andor has delivered top-notch Star Wars storytelling. In the latest episode of Hyperspace Theories, Tricia Barr and B.J. Priester analyze the two-part finale. Written by showrunner Tony Gilroy, who also wrote the first three episodes, the finale brings the first season of Andor to an exciting and dramatic conclusion. Gilroy started Cassian's story in Andor on Ferrix, and the finale returns to the planet by bringing almost all of the major characters to the same location for the climactic events. Only Mon Mothma, trapped in her own tightening vise by the Empire, remains stuck on Coruscant. Starting with Cassian himself and extending to the other characters drawn into the gravity well of his story by the events of the series, each of the character arcs in Andor receives a fitting and impactful culmination. Without a doubt, Andor has raised the bar for Star Wars stories on Disney+ in the years ahead. Related Links: Fangirls Going Rogue Episode 22.14: Let's Get Ready for Andor Andor's Diego Luna and Genevieve O'Reilly On Fangirls Going Rogue Fangirls Going Rogue Episode 22.16: Andor's Adria Arjona Roundtable Andor: Striving To Get Back To Star Wars' Political Roots REVIEW: Andor Hyperspace Theories: Andor Begins Andor: Fascism and Star Wars Hyperspace Theories: Andor: Where Is It Going? Hyperspace Theories: Andor: The Heist and Its Aftermath Hyperspace Theories: Everyone's in Prison in Andor

Episodes eight to ten of Andor center on a common theme: everyone is trapped in a literal or metaphorical prison. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss how writer Beau Willimon used this theme as the keystone for all of the characters in this story arc. Cassian, of course, spends this arc in the Narkina 5 prison facility, where the Empire uses convict labor in a prison-industrial complex to produce countless components necessary for the military-industrial complex necessary to sustain its galactic tyranny. Kino Loy, played by the amazing Andy Serkis, is both a literal inmate and a metaphorical prisoner of the gamified labor regime within the facility. Others play along too, at least until they realize the game is rigged and they can never “win” their freedom. Beyond Narkina 5, the theme pervades the other characters' stories, too. On Ferrix, we see the ways Bix, Paak, Brasso, and Maarva suffer under Imperial occupation. On Coruscant, Syril thinks his connection with Dedra and the ISB are his ticket upward, only to discover how trapped he remains. Dedra perceives her upward trajectory continuing, but she remains bound within an ISB mindset. Elsewhere on the capital planet, Mon Mothma confronts the reality of her seemingly inescapable personal situation, including a demand for a terrible family sacrifice, and her newly revealed cousin Vel faces a similar personal toll. Luthen Rael, the “axis” of the burgeoning rebellion, struggles to unite the disparate factions of the incipient Rebellion, personified in Saw Gerrera's certainty that he is the only one with clarity of purpose. Despite his machinations and his successful Aldhani heist, Luthen admits that he is trapped by the obligations and burdens of his unbreakable commitment to sacrifice everything for the Rebellion. Cassian, at least, ends the arc by escaping the prison and swimming to shore. Whether any of the other characters can break free of their confinement remains to be seen. Related Links: Fangirls Going Rogue Episode 22.14: Let's Get Ready for Andor Andor's Diego Luna and Genevieve O'Reilly On Fangirls Going Rogue Fangirls Going Rogue Episode 22.16: Andor's Adria Arjona Roundtable Andor: Striving To Get Back To Star Wars' Political Roots REVIEW: Andor Hyperspace Theories: Andor Begins Andor: Fascism and Star Wars Hyperspace Theories: Andor: Where Is It Going? Hyperspace Theories: Andor: The Heist and Its Aftermath

After its first three episodes launching Cassian's character journey, Andor quickly propels him into a plotline drawn from his ultimate fate in Rogue One: a risky heist from a secure Imperial facility that plays a crucial role in the fate of the Rebellion against the Empire. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester examine the fourth through seventh episodes of Andor and break down what the heist storyline means for all of the key characters in the series. For Cassian, his interactions with the other six members of the heist team teach him important lessons about himself, the possibilities for his future, and the personal and galactic nature of rebellion. As we had speculated, he ends the heist still unwilling to commit to the Rebel cause – but his return to Ferrix and his tourism to Niamos quickly show him that Nemik was correct: the pace of the Empire's oppression has outpaced his ability to comprehend it. In the Imperial subplot, the success of the Aldhani heist changes the opportunities and possibilities for Dedra Meero and the ISB. In the Rebellion subplot, it reinforces that the price of rebellion will not only be personal for Luthen Rael and Mom Mothma, but also galaxy-wide as the Empire cracks down. Amid her political struggle against tyranny, Mon faces another kind of oppressive environment at home. Related Links: Fangirls Going Rogue Episode 22.14: Let's Get Ready for Andor Andor's Diego Luna and Genevieve O'Reilly On Fangirls Going Rogue Fangirls Going Rogue Episode 22.16: Andor's Adria Arjona Roundtable Andor: Striving To Get Back To Star Wars' Political Roots REVIEW: Andor Hyperspace Theories: Andor Begins Andor: Fascism and Star Wars Hyperspace Theories: Andor: Where Is It Going?

On September 21, Star Wars: Andor launched on Disney+ with a three-episode premiere. On Hyperspace Theories, we analyzed how those episodes set in motion the character journey for Cassian Andor from his life on Ferrix, and the preceding years in flashbacks, to become the Rebel operative and hero we see in Rogue One. The fourth episode of Andor, released on September 28, greatly expands the scope of the series and broadens the character arcs and plotlines far beyond the personal path of the titular character. On today's episode of Hyperspace Theories, Tricia Barr and B.J. Priester revisit the roots of the podcast in Star Wars speculation. We analyze the first four episodes of Andor, the scenes in the official trailers that did not occur in those episodes, the publicly available list of writers and directors for all twelve episodes, and Tony Gilroy's prior Star Wars storytelling in Rogue One. Examining these sources, we consider what they suggest about the story structure, themes, and character arcs in the remaining eight episodes of the first season. Knowing that the series was thoroughly planned before entering production, and overseen throughout by Gilroy as showrunner, provides more confidence than other recent Star Wars live-action productions that speculation from the early episodes and other evidence creates the opportunity to accurately draw inferences and make predictions that align with the storyteller's carefully developed tale. Related Links: Fangirls Going Rogue Episode 22.14: Let's Get Ready for Andor Andor's Diego Luna and Genevieve O'Reilly On Fangirls Going Rogue Fangirls Going Rogue Episode 22.16: Andor's Adria Arjona Roundtable Andor: Striving To Get Back To Star Wars' Political Roots REVIEW: Andor Hyperspace Theories: Andor Begins Andor: Fascism and Star Wars

The newly premiered Andor is the biggest and most ambitious Star Wars Disney+ streaming series yet. Created by showrunner Tony Gilroy, who oversaw the rewrites and reshoots that salvaged the theatrical release of Rogue One, Andor is a prequel to a prequel: beginning five years before that film, it will bring its principal characters to the events of Rogue One, which itself leads directly into A New Hope and the Original Trilogy. The first season of Andor includes 12 episodes, with 12 more planned for a second (and final) season that enters production later this year. From the trailers, interviews, press conference, and other promotion, it seems clear that Andor is intended to mark the entry of the Star Wars franchise into the “prestige television” space alongside series such as The Crown, Game of Thrones, or The Expanse. For its premiere on September 21, 2022, however, Andor released a trio of episodes focused almost entirely on the titular character, Cassian Andor (Diego Luna), and the immediate desperate aftermath of a particular incident. In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss how these episodes reintroduce Cassian to the audience at a very different point in his life compared to the seasoned Rebel Alliance operative from Rogue One. The episodes also make effective use of flashbacks to reach even farther back in his past – before, we learn, he even went by the name Cassian Andor – to lay the groundwork for the character arc that begins to develop in these early episodes of the series. In addition to the core story about Cassian, we consider the many new characters introduced in Andor, some of whom appear destined to play important roles in the series beyond the initial episodes. If you missed it during the early rounds of publicity and promotion in late August, be sure to catch up on the Andor coverage at Fangirls Going Rogue and FANgirl Blog now that series has launched into its weekly release schedule for the remaining nine episodes of the first season. Related Links Fangirls Going Rogue Episode 22.14: Let's Get Ready for Andor Andor's Diego Luna and Genevieve O'Reilly On Fangirls Going Rogue Andor: Striving To Get Back To Star Wars' Political Roots Tony Gilroy discusses Rogue One on The Moment podcast

Disney+'s Ms. Marvel is earning rave reviews and allowing a whole new segment of Marvel fandom to see their stories represented. Siya Patel has shared her passion for Marvel stories here at FANgirl Blog. When she asked about learning about podcasting, Ms. Marvel seemed to be the perfect opportunity. Hence, the Night Light podcast was born. On the third episode, Tricia Barr and Siya Patel discuss the final two episodes of Ms. Marvel. The themes of identity and community bonds shine as the season draws to a close. Night Light cover art by Siya Patel. Related: Night Light Podcast Episode 2 Siya Patel's article on Ms. Marvel Siya Patel's SDCC Marvel Panel Recap Hyperspace Theories; The Myth and History of Ms. Marvel

The latest episode of Hyperspace Theories discusses the full story unfurled in the newest six-episode Disney+ series in the Marvel Cinematic Universe (MCU): Ms. Marvel, featuring the origin story of teenage heroine Kamala Khan. Tricia Barr and B.J. Priester are joined by longtime FANgirl Blog contributor Priya Chhaya, an historian and advocate for representation in storytelling and nonfiction alike. First introduced in the comics, Kamala Khan stands out as Marvel's first Pakistani-American and Muslim superhero. Like the comics, the Ms. Marvel series showcases Kamala's family, friends, faith, and community as integral aspects of her personal identity both before and after she acquires her superpowers. At the same time, her story includes universal themes than resonate with audience members who do not share her heritage or religion, such as overprotective parents, sibling resentment, and a multi-generational immigrant experience in the United States. In addition, Ms. Marvel is prominently a story about mothers and daughters, too often still a rarity in blockbuster entertainment and other popular fiction. Kamala's story is also unusual in featuring an intact family unit. The Ms. Marvel series also places significant emotional prominence on an important event in the 20th century history of South Asia: the Partition of India at the end of British imperial occupation, creating new borders and the new country of Pakistan. (Subsequently, East Pakistan became the independent nation of Bangladesh.) The Partition not only sparked religiously motivated violence in India, but also the largest mass migration in human history as millions of Muslim refugees fled to Pakistan. Ms. Marvel highlights the Partition in the flashback love story of Aisha and Hasan, as well as its lingering ramifications in the lives of Sana, Muneeba, and Kamala. Although the Clandestines and the Department of Damage Control serve as Kamala's overt antagonists in the series, Ms. Marvel perhaps suggests that the real villain is the generational trauma of imperialism. Related Links: Ms. Marvel Powerfully Portrays the Pain of Partition (Nerdist) Ms. Marvel head writer Bisha K. Ali's Google Docs reading list about the Partition (Twitter) Bon Jovi tweets about Ms. Marvel (Sana Amanat on Twitter) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Priya Chhaya: Twitter @priyastoric

Disney+'s Ms. Marvel is earning rave reviews and allowing a whole new segment of Marvel fandom to see their stories represented. Siya Patel has shared her passion for Marvel stories here at FANgirl Blog. When she asked about learning about podcasting, Ms. Marvel seemed to be the perfect opportunity. Hence, the Night Light podcast was born. On the second episode, Tricia Barr and Siya Patel discuss Aamir's wedding and Kamala Khan's journey to Pakistan. Siya Patel shares insights into the South Asian culture that are revealed in the episodes "Destined" (Episode 3) and "Seeing Red" (Episode 4). The themes of self discovery, family dynamics and generational trauma cut across boundaries, making Ms. Marvel a universal coming-of-age story that is relatable to many. Cover art by Siya Patel.

This episode of Hyperspace Theories offers the third discussion in our three-part analysis of Obi-Wan Kenobi, following our previous commentary on the first two and middle three components of the Disney+ series. Tricia Barr and B.J. Priester first break down the trio of major character arcs resolved in Part VI: the content and consequences of the second showdown in Obi-Wan Kenobi between Obi-Wan and Vader, and how Reva's parallel subplot further illuminates their choices while defining her own. We also examine how Part VI contains deliberate ambiguity regarding Reva's exact motivations in seeking to kill Luke on Tatooine, before her change of heart and merciful compassion from Obi-Wan. We then return to the Hero's Journey aspects of the series. On its own terms, Obi-Wan Kenobi concludes a full progression through Christopher Vogler's cinematic model of the journey. Viewed through the lens of Joseph Campbell's monomyth, by contrast, Obi-Wan Kenobi contains the Departure and Initiation phases of the hero's transformation. The Return phase is not absent from the character's story, though – it appears in A New Hope. Only then does the moment finally arrive for Jedi Master Obi-Wan Kenobi to complete his Hero's Journey, synthesizing his character development from the Prequel Trilogy, The Clone Wars, and Obi-Wan Kenobi to attain the highest state of mastery. Related Links: Dave Filoni Speaks at Star Wars Celebration Anaheim 2022 Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

FANgirl Blog's Tricia Barr and Siya Patel discuss the Marvelous origin story of Kamala Khan.

In our newest episode, Hyperspace Theories continues our analysis of Obi-Wan Kenobi with a discussion of Parts III, IV, and V of the Disney+ limited series. Tricia Barr and B.J. Priester examine how, after Parts I and II launched Obi-Wan on his mythic adventure, the next three episodes propel him through an extended progression of trials and tribulations that return the broken man into the Jedi General he used to be and push him toward the serene Jedi Master he ultimately becomes. Elements of both Joseph Campbell's monomyth and Christopher Vogler's cinematic hero's journey illustrate the mythic structure of Obi-Wan's personal challenges. Importantly, Obi-Wan Kenobi advances its protagonist's character arc through the influence of three significant female characters: Leia, Tala, and Reva. Each plays a different role in shaping Obi-Wan's rediscovery of himself and reconnection with the Force through the events on Daiyu, Mapuzo, Nur, and Jabiim. In a twist on Campbell, it is Roken and Vader, not a woman, who present the biggest temptations that might divert Obi-Wan from his path. By the conclusion of Part V, Obi-Wan has moved through his trials and overcome their obstacles. In our next episode, we'll discuss how Obi-Wan Kenobi resolves its character arc for the Jedi Master in Part VI, as well as how that arc plays forward into the ultimate culmination of his Hero's Journey in A New Hope and the Original Trilogy. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

After the world premiere of Obi-Wan Kenobi at Star Wars Celebration, Tricia Barr and BJ Priester sit down to explore the storytelling structure as it expands the Campbellian monomyth.

Hyperspace Theories podcast returns to the realm of Star Wars storytelling with this month's episode, in which Tricia Barr and B.J. Priester discuss The Book of Boba Fett. In addition to its seven chapter, we also consider insights from the Disney Gallery episode exploring the development and production of the Disney+ series.   We begin with the titular character. The first four episodes of The Book of Boba Fett portray two sets of events in his life: his experiences from his escape from the Sarlaac Pit until his appearance in “The Tragedy” chapter of The Mandalorian season two to reclaim his father's armor, and his return to Tatooine to establish himself as “daimyo” upon the throne previously occupied by Jabba the Hutt and Bib Fortuna. Each of these storylines contains some interesting ideas for Fett's character development, but both fail to meet the potential of those ideas. In addition, the series at times relies heavily on homages to famous cinema (like Lawrence of Arabia or The Godfather) and references to previous Star Wars material (including comics, books, and videogames) without challenging or subverting some of the damaging tropes frequently found in those sources, particularly in the thin characterization of the female characters and the fate of the indigenous Tusken tribe that welcomed Fett into its community. Although the finale episode delivers exciting Star Wars action sequences, it ends on a meta-referential note: Fett himself wonders aloud whether he should have been pursuing the objective of becoming daimyo in the first place. Even more jarring, the fifth and sixth chapters of The Book of Boba Fett barely even include him at all. Instead, the focus on events that we would have expected to appear in season three of The Mandalorian, including Din Djarin's return to the Armorer's covert, his acquisition of a new starship to replace the RazorCrest, and his paternal caring for Grogu. Another appearance by Ahsoka Tano delivers unexpected emotion for Din in doing what's right for Grogu, as well as for the audience with dialogue overtly linking her current role in the galaxy to her past with the Skywalker family. A surprisingly lengthy appearance by Luke reveals more about Grogu, while also testing both Luke and Grogu in their commitment to the Jedi path. Directed by Bryce Dallas Howard and Dave Filoni, respectively, these two episodes offer far stronger Star Wars storytelling than the rest of The Book of Boba Fett. Related: Hyperspace Theories: The Story of The Mandalorians Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

This month's episode of Hyperspace Theories rings in the new year with the storytelling of the Marvel Cinematic Universe: Tricia Barr and B.J. Priester discuss the six episodes of the Christmas-themed Disney+ series Hawkeye. Though the show may have one character name in its title, like the other MCU series to date it also is very much an ensemble story. Clint Barton has been the MCU's Hawkeye through four Avengers films and several others. In Endgame, we learn that Clint responded to the Snap taking away his family by becoming the ruthless and vengeful assassin Ronin, murdering crime lords and other “deserving” foes until Natasha Romanoff managed to restore his hope, changing his heart just as he had once given her the chance to change hers. In Hawkeye, everything spirals outward from these events: Clint's grief for Natasha, his commitment to honoring the sacrifice she made to give him a life with his family, and his responsibility for his actions as Ronin. But while Clint creates the circumstances in which Hawkeye‘s story can unfold, the series at its heart is the story of three women: Kate Bishop, Yelena Belova, and Maya Lopez. Each must face difficult truths and choose their own path forward after their interactions with Clint's past and present. Obsessed with vengeance for Ronin's murder of her father, Maya discovers that Clint is not the monster she thought, and the real monsters are the ones closest to her. Driven by certainty that Clint does not deserve to live either if Natasha is gone, Yelena is challenged to face her grief, accept Natasha's sacrifice, and confront whether assassin-for-hire is really the path she wants to walk. Kate Bishop, meanwhile, evolves from a talented young woman ringing a tower bell with an arrow on a dare to a superhero committed to doing the right thing, even if it means risking her own life in single combat against a ferocious foe to save the life of her mother – who she then promptly has arrested for her crimes on Christmas. Much of Hawkeye plays out through the trope of the reluctant mentor and the overeager pupil, but the contrasts (and comparisons) between Clint and Kate only serve to show the audience why Kate is ready to take on the mantle of Hawkeye. But not simply to replicate how Clint fulfilled that role; rather, Kate will become her own version of Hawkeye, perhaps even as more of a team leader. In Hawkeye, Kate proves her skill and her heart to Clint and to the audience – and to herself. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

Hyperspace Theories concludes our three-part analysis of Season Two of The Mandalorian with a discussion of the character arc for the titular hero, Din Djarin, over the span of the sixteen chapters in the series to date. Although much of Season Two involves Din's interactions with a progression of allies and adversaries, old and new, Tricia Barr and B.J. Priester examine how each of those episodes reveals more about Din and shapes his ultimate choices in the series. Most prominently, Season Two constantly tests Din's understanding of what it means to be a Mandalorian. In Season One, Din centered his identity on the Armorer's covert and the Bounty Hunter Guild. In Season Two, Din learns that the Mandalorian identity isn't as straightforward as he thought, particularly in his encounters with Bo-Katan Kryze and Boba Fett. His sense of honor is tested by Cobb Vanth, the Passenger, and Ahsoka Tano as well as Kryze and Fett. To fulfill his quest to deliver Grogu to the Jedi, Din works with trusted allies like Greef Carga and Cara Dune, and chooses to rely upon those he initially treats warily, including Vanth, Tano, and Mayfeld. By season's end, Din inadvertently has won the revered Darksaber from Moff Gideon in single combat, confronting him not only with the decision about what kind of Mandalorian he wants to be as an individual, but also with his role in the fate and future of the Mandalorians writ large. Of course, we can't discuss Din's story without considering his bond with Grogu, a/k/a Baby Yoda or The Child. What began as a seemingly simple quest to return the young one to his kind evolves over the season into a strong parental bond. It is no coincidence that the man who repeatedly and consistently insisted he would never remove his helmet does so twice in the last two episodes of the season – both times because of Grogu. With Season Three of The Mandalorian in production, we briefly speculate on how Din's character arc, and the unresolved plot threads from the first two seasons, may play out in the upcoming chapters of the series. Related Links: Hyperspace Theories: Ahsoka Tano is The Jedi Hyperspace Theories: The Story of the Mandalorians Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

Hyperspace Theories returns with another discussion of Season Two of The Mandalorian. In this episode, Tricia Barr and B.J. Priester analyze how The Mandalorian series advances the story of the Mandalorians: a people, a culture, and a feared faction in galactic war and peace. We also speculate about how the information revealed in Season Two may provide clues to what else we'll learn about Mandalorians in The Book of Boba Fett at the end of the year and Season Three of The Mandalorian later in 2022. Before looking to future stories, though, we start with how the Mandalorians were introduced in the franchise's past. Revealed in fiction and nonfiction paratexts, the lore surrounding Boba Fett's armor and its mysterious connection to the equally mysterious Mandalorian super-commandos predates even the conclusion of the Original Trilogy in Return of the Jedi. In the era of Star Wars Expanded Universe (now Legends) tales, the Mandalorians appeared in a wide variety of popular story formats, including novels, comics, and videogames, as well as fan cosplay groups. A major shift occurred in the second season of The Clone Wars animated series, when George Lucas began to unfold his own version of Mandalorian culture, politics, and role in the galaxy. Dave Filoni subsequently evolved those ideas further in the Star Wars Rebels animated series and the Siege of Mandalore arc of The Clone Wars‘ seventh season, as well as the ongoing The Mandalorian series. What these stories portray, over roughly thirty years of in-universe events, is the Mandalorians collectively undergoing a story of their own. Like the Jedi, the Mandalorians face tragedy by the end of the Clone Wars, and then a slow attempt to rebuild. As with the Jedi, we watch the story unfold through the eyes of key characters like Duchess Satine, Bo-Katan Kryze, Pre Vizsla, and later Sabine Wren, Din Djarin, and Moff Gideon. In the Disney+ series, perhaps the Mandalorians may have a more optimistic fate ahead. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

For this variant episode of Hyperspace Theories, Tricia Barr and B.J. Priester turn once again to the Marvel Cinematic Universe to discuss the storytelling, characterization, and creative twists on the monomyth in Loki, the six-episode Disney+ series which recently concluded. In addition to discussing the character arcs of the core cast – Loki, Sylvie, Mobius, and Renslayer – we delve into the weighty themes and significant philosophical ideas underlying the series. We offer high praise for the successful collaboration of director Kate Herron and head writer Michael Waldron, who is poised to write the screenplay for the previously announced Star Wars movie being produced by MCU guru Kevin Feige. Loki certainly benefits from a second watch, which makes even more apparent the clever writing and honed storytelling in the series. Related Links: Loki: Michael Waldron Unpacks S1 Finale Twists, Teases Doctor Strange 2 (CBR) Creator Michael Waldron Answers All Our Questions about Loki and Heels (ScreenCrush) Michael Waldron Goes Deep on ‘Loki,' ‘Doctor Strange 2,' and How He Got His Break in Hollywood (Collider) ‘Loki' Head Writer Michael Waldron — and ‘Rick and Morty' Alum — on MCU, ‘Heels' and More (Rolling Stone) From Loki to Doctor Strange and Star Wars, Michael Waldron Is the New Franchise Whisperer (GQ) Loki boss on Frog Thor, Loki and Sylvie's bond, and why Marvel isn't like the TVA (EW) How the Man Behind Loki Is Shaping Marvel's Phase 4 and Beyond (Vanity Fair) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

Hosts Tricia Barr and B.J. Priester breakdown The Mandalorian Season 2 in three episodes. The first episode explores the importance of the Jedi to the story of Din Djarin over the course of Season 2.

Tricia Barr and BJ Priester from FANgirl Blog share their initial reactions to the WandaVision series finale.

Season One of The Mandalorian concluded with a two-part story arc consisting of “Chapter 7: The Reckoning” and “Chapter 8: Redemption.” In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester analyze how the finale episodes pay off the storytelling and characterization set up during the course of the season. We also look ahead to how the threads left open at the end of Season One may lay the groundwork for the stories to come in Season Two. The finale episodes of Season One provide compelling character development for the titular Mandalorian (whose real name, we learn, is Din Djarin), as well as further evolving Baby Yoda’s understanding of the Force, a change of heart by Greef Carga, and the fateful sacrifices of Kuill and IG-11 to save the Child from Imperial captivity. We also discuss the humorous sequence at the opening of Chapter 8, involving the two biker scouts with Baby Yoda, and examine the storytelling impact and thematic purpose of humor in conveying a moral message to the audience. And of course we have to talk about the incredible new villain, Moff Gideon – who, it is revealed in the last moments of the season, is in possession of the Darksaber, an important relic of Mandalorian culture. Direct Download | Libysn embed Related Links                                              Hyperspace Theories: The Mandalorian, Chapters 1-3 Hyperspace Theories: The Mandalorian: Allies and Enemies (Chapters 4-6) The Mandalorian Season Two Official Trailer (YouTube) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

With Season Two of The Mandalorian premiering at the end of the month, our latest episode of Hyperspace Theories revisits the stories told in Season One. Between the three-episode opening arc and the two-episode conclusion falls a trio of distinct episodes that build and develop a number of important character dynamics. Tricia Barr and B.J. Priester discuss Chapter Four: Sanctuary, Chapter Five: The Gunslinger, and Chapter Six: The Prisoner and what they contribute to The Mandalorian’s story progression. Many of those developments involve the show’s central and titular character. Like the middle of a Campbellian journey, Mando faces tests and trials while encountering allies and enemies. These episodes, for example, reinforce Mando’s distaste for droids and his sworn commitment to never remove his helmet around other people. They also show his worldly experience, his tactical combat prowess and creativity, and the code of honor that plays a role in determining which adversaries he defeats but leaves alive – and which ones he kills. And of course, his relationship with his ward, Baby Yoda, advances too, with a little prompting from Cara Dune, Omera, and Pelli Motto, as well as Mando’s own burgeoning affection for the child. Check back soon for our next episode, also to be released before Season Two begins, when we will discuss the finale episodes of Season One. Direct Download | Libysn embed Related Links                                              Hyperspace Theories: The Mandalorian, Chapters 1-3 The Mandalorian Season Two Official Trailer (YouTube) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com

Teresa Delgado (Fangirls Going Rogue, Star Wars Bookworms) joins Tricia Barr and B.J. Priester of FANgirl Blog to discuss the concluding arc of The Clone Wars.

For this episode of Hyperspace Theories, the show comes full circle. Joining Tricia Barr and B.J. Priester for our continuing discussion of The Clone Wars Season Seven is Megan Crouse, a familiar name to long-time readers of FANgirl Blog – and our guest on the second-ever episode of the podcast. Megan wrote reviews of The Clone Wars episodes during Seasons Four and Five when they originally aired on Cartoon Network, as well as contributing book reviews and other articles. Since then, Megan has gone on to write for StarWars.Com, Star Wars Insider magazine, Den of Geek, and other websites. Welcome back, Megan! The focus of our discussion is the second arc of Season Seven, which tells a story of Ahsoka's struggle to redefine her identity relatively soon after her resignation from the Jedi Order at the end of Season Five. Her thinking about herself is influenced by her interaction with the two sisters she meets early in the first episode: Trace and Rafa Martez. As Dave Filoni explained on Clone Wars Download, the sisters represent two possibilities for who Ahsoka could become: the earnest and compassion Trace, or the cynical and selfish Rafa. Over the course of the four episodes, Ahsoka makes her choice – and in the process helps Rafa realize that she can make different choices for herself and her sister, too. In addition to discussing Ahsoka and the Martez sisters, we discuss other themes highlighted by this story arc, particularly how the Jedi Order has been morally compromised. We also share thoughts about how this arc relates to other stories from The Clone Wars, including the novel Dark Disciple and the first two episodes of the final Siege of Mandalore arc, which had already aired by the time of recording.   Related Links: Star Wars Celebration Anaheim 2015: The Clone Wars Tales Yet Untold Star Wars Celebration Europe 2016: Ahsoka’s Untold Tales Star Wars Celebration Orlando 2017: Animated Origins and Unexpected Fates Panel Star Wars Celebration Chicago 2019: The Clone Wars Sneak Peek Clone Wars Download: "Gone With a Trace" (YouTube) Clone Wars Download: "Together Again" (YouTube) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Megan Crouse: Twitter @blogfullofwords

Tricia Barr and B.J. Priester discuss the storytelling behind The Clone Wars Bad Batch arc.

For the latest episode of Hyperspace Theories, Tricia Barr and B.J. Priester discuss the first three episodes of Star Wars: The Mandalorian, now available on the Disney+ streaming service. The untitled premiere episode, Chapter Two: The Child, and Chapter Three: The Sun collectively form the introductory story arc for the as-yet-unnamed titular character. In addition to the character development of the Mandalorian, we consider his interactions with the Bounty Hunter Guild and his Mandalorian clan, as well as his backstory flashback to the Clone Wars. And no conversation about these episodes would be complete without addressing the small green alien in the room: Baby Yoda. We conclude our discussion by looking ahead to the final five episodes of the first season, in particular anticipating the arrival of Gina Carano’s Cara Dune and Ming Na Wen’s Fennec Shand. Related Links: ‘The Mandalorian’ Director: Baby Yoda ‘Steals the Show’ (New York Times, Nov. 22, 2019) Why ‘The Mandalorian’ episodes are short and arrive on Disney+ once a week (CNBC, Nov. 26, 2019) The Armorer: Unmasking The Mandalorian‘s Mysterious Blacksmith (Vanity Fair, Nov. 22, 2019) The Mandalorian: Deborah Chow Reveals the Inspiration For the Baby Yoda Rescue (Vanity Fair, Nov. 22, 2019) Baby Yoda Has Conquered the World (Vanity Fair, Nov. 26, 2019) Fangirls Going Rogue: Priority Transmission #14: The Mandalorian Interviews: Jon Favreau and Dave Filoni Fangirls Going Rogue: Priority Transmission #15: The Mandalorian Cast Interviews Fangirls Going Rogue: Priority Transmission #16: The Mandalorian Press Conference Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Kay: Twitter @Geek_Kay; email Kay@fangirlblog.com

Editors at FANgirl Blog, BJ Priester and Tricia Barr, share their reactions to The Rise of Skywalker final trailer.  Social Media Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Kay: Twitter @Geek_Kay; email Kay@fangirlblog.com  

While we love Star Wars at FANgirl Blog, we have many passions. Tricia and Kay share thoughts on Netflix's She-Ra and the Princesses of Power.

This month’s episode of Hyperspace Theories takes us from books to fashion to movies, with plenty in between. Six months out from the release of The Rise of Skywalker, Tricia, B.J., and Kay look ahead to what might come next for Star Wars and its fans. We begin, though, in the present: discussing the recently released novel Alphabet Squadron by Alexander Freed. Taking place shortly after the defeat of the Empire, the book is the first in a trilogy telling the story of a group of pilots, each flying a different type of starfighter, who are tasked with tracking down an elite Imperial starfighter wing. We evaluate the book on its own terms, how it works to kick off a trilogy, and its relationship to Freed’s other work. As big fans of the X-Wing novel series in the Expanded Universe (Legends) era – featuring the tales of Rogue Squadron by Mike Stackpole and Wraith Squadron by Aaron Allston – we also consider how Alphabet Squadron compares and contrasts with those beloved stories. (For more, you can check out Kay’s review of the novel, too.) Earlier this month, Tricia and B.J. had the opportunity to attend San Diego Comic-Con as credentialed media for Fangirls Going Rogue, and they share some of their insights and reactions from the convention here on Hyperspace Theories, too. We start with the Her Universe Fashion Show, which Kay was able to follow along thanks to livestreams and social media. The work of the designers was impressive as always! Tricia talks about some of the other geek fashion she covered at the convention, as well. We also talk about the Star Wars panels at SDCC, including the Lucasfilm Publishing panel and a bit of Star Wars comics news, along with several other panels examining the role of women in pop culture and the entertainment industry. One of the SDCC panels Tricia attended gathered a group of experts to discuss how fans and fandoms display their reactions and emotions when long-running stories end. We take this idea as a starting point to look at the Marvel Cinematic Universe and Star Wars, both of which reach highly anticipated endpoints this year. With Avengers: Endgame and Spider-Man: Far From Home, the MCU drew to close a ten-year, 22-movie epic storyline and resolved the fates of a number of prominent characters from the series. In December, The Rise of Skywalker will conclude a nine-movie, four-decade Skywalker Saga story told in the Star Wars films. We note the similarities and differences in the two franchises, and consider how the reactions to the end of the MCU’s Phase Three may or may not necessarily transpose to the aftermath of Episode IX. In particular, the Phase 4 slate of new films and Disney+ series announced at SDCC keeps the MCU moving forward at a fast pace, and with great strides in improving the diversity of the talent on screen and behind the scenes at Marvel Studios. By contrast, Lucasfilm currently is scheduled to have a three-year break before the next film and has only two Disney+ series announced for that time period; on the other hand, Star Wars tells stories in animation, books, and comics that continue to advance the same singular storyline in a way that Marvel does not. Although both the MCU and Star Wars will pivot in new directions, we expect to see some significant differences in how the franchises and their fandoms react and adapt going forward. Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Kay: Twitter @Geek_Kay; email Kay@fangirlblog.com

We have the future, the past, and the present to discuss in this month’s episode of Hyperspace Theories. With Celebration Chicago in the rear-view mirror and December’s movie still half a year away, Kay, Tricia, and B.J. still have plenty of Star Wars to talk about. We begin with the Vanity Fair cover story on The Rise of Skywalker, featuring an article by Lev Grossman and photographs by Annie Leibowitz. As is typical for these pieces, we learned a few new character and planet names, but very little other new information – especially following so closely on the heels of similar interview answers given at Celebration. Likewise, Leibowitz’s composite style provides imagery presumably intended to convey the tone and spirit of the film, but they are traditional behind-the-scenes snapshots or on-set stills. But we did get much better looks at the costumes for Rey and Zorri Bliss, much to Kay’s excitement. Our storytelling segment travels over sixty years back in time on the Star Wars in-universe chronology, to the era when the Jedi Knights were the guardians of peace and justice in the Old Republic – though the seeds of the Order’s demise already had begun to grow. The novel Master & Apprentice by Claudia Gray focuses on the teacher-pupil relationship between Qui-Gon Jinn and a teenage Obi-Wan Kenobi a number of years before The Phantom Menace. She spins a tale of trust and friendship, as well as prophecy, ethical dilemmas, and the political power of governments, leaders, corporations, and the Jedi. One of the new characters is Rael Averross, also an iconoclast to the Jedi Order – but in a quite different manner than Qui-Gon. What they have in common is that both are former apprentices to Dooku, who appears only briefly in flashbacks in Master & Apprentice. The fallen Jedi turned Sith Lord is central figure of the full-cast audiobook Dooku: Jedi Lost by Cavan Scott, released two weeks after Gray’s novel, which also includes Rael and Asajj Ventress from The Clone Wars. Between the two stories, the backstory to Episode I gains a considerable amount of new perspective. This month’s world-building segment takes us to Anaheim, California, where Tricia attended the official grand opening of the Galaxy’s Edge expansion at Disneyland. She shares her reactions to the new land, including the setting, inhabitants, food and drink, and of course the ride Millennium Falcon: Smuggler’s Run. She also gives a behind-the-scenes peek at the dedication ceremony and formal opening of the ride, with VIPs in attendance including Star Wars animation guru Dave Filoni and Captain Marvel’s Brie Larson. One prominent new character in Galaxy’s Edge is Resistance spy Vi Moradi, who appears in Delilah Dawson’s novel Phasma and August’s upcoming Black Spire. In the park, Vi is portrayed by cast member Alex Marshall-Brown, who has been sharing her experience on Instagram and Twitter.   Vanity Fair‘s Star Wars: The Rise of Skywalker Links Star Wars: The Rise of Skywalker, The Ultimate Preview (Lev Grossman) Star Wars: The Rise of Skywalker Photos: Meet the Characters and Go on Set (Cover Shoot / Photographs by Annie Leibowitz) Everything New Revealed in Vanity Fair’s The Rise of Skywalker Cover Story (Joanna Robinson) Star Wars: The Truth About Kylo Ren and Rey’s Connection (Joanna Robinson) Star Wars: Keri Russell Is the Roguish Zorri Bliss (Joanna Robinson) Star Wars: The Knights of Ren Make Their Long-Awaited Return (Joanna Robinson) Star Wars: Richard E. Grant’s Villainous Character, Revealed (Joanna Robinson) Star Wars: Why Billie Lourd Asked to Share Scenes with Her Late Mother, Carrie Fisher (Joanna Robinson) A Lot of the Final Skywalker Film Has Been Planned “from the Very Beginning” (Joanna Robinson) In Star Wars: The Rise of Skywalker, C-3PO Will Surprise Everybody (Joanna Robinson) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Kay: Twitter @Geek_Kay; email Kay@fangirlblog.com

On Episode 44 of Hyperspace Theories, Tricia, B.J. and Kay discuss Star Wars Celebration in Chicago and share our reactions to, and favorite moments from, the convention. The convention was definitely a busy one: we didn’t even have time to record the episode live at the con, but hopefully the clearer audio quality is a worthwhile tradeoff. We begin, of course, with the Episode IX panel that kicked off the convention on Friday morning, April 12. In addition to the panel itself, we give our initial impression of the movie’s title, The Rise of Skywalker, and the teaser trailer unveiled at the conclusion of the panel – including a surprise appearance by the Emperor’s Ian McDiarmid on the Celebration stage. We then talk about a wide range of other experiences from the convention. Panels discussed include The Clone Wars, The Mandalorian, Galaxy’s Edge, and Claudia Gray’s writer workshop. Other topics include merchandise, cosplay, the fan-organized Ahsoka Lives picture, and the fun of socializing with friends from all over the country and around the world. We also offer some constructive criticism on several of the logistical problems that arose before and during the convention, in the hope that these issues can be resolved for Celebration Anaheim in 2020. We conclude the show with our favorite moments from the convention. For each of us, these were more personally important than anything else – but that’s what conventions like Celebration are really all about.   FANgirl Coverage of Star Wars Celebration Chicago 2019: Star Wars Celebration Chicago 2019: Episode IX Panel Star Wars Celebration Chicago 2019: Bringing Star Wars: Galaxy’s Edge to Life at Disney Parks Star Wars Celebration Chicago 2019: The Clone Wars Sneak Peek Star Wars Celebration Chicago 2019: The Mandalorian Panel Star Wars Celebration Chicago 2019: The Phantom Menace 20th Anniversary Panel Star Wars Celebration Chicago 2019: The Music of The Phantom Menace With David Collins Star Wars Celebration Chicago 2019: Logistical Problems and Areas for Improvement Star Wars Celebration Chicago 2019: The Franchise Talking Points Fangirls Going Rogue: Basking In Celebration Afterglow Star Wars Celebration Chicago 2019: Marvel Comics Presents: Star Wars Star Wars Celebration Chicago 2019: The Meaning of Community: My First Star Wars Celebration Star Wars Celebration Chicago 2019: The Freemaker Adventures and Star Wars: All-Stars Panel Star Wars Celebration Chicago 2019: Star Wars Resistance Season Two Sneak Peek Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com Kay: Twitter @Geek_Kay; email Kay@fangirlblog.com

Many Star Wars fans, including the team here at FANgirl, have long urged the franchise to release a novel centered on Padmé and her political career. That moment has finally arrived from Disney Lucasfilm Press, in the form of the Young Adult novel Queen’s Shadow by E.K. Johnston, who previously wrote the YA novel Ahsoka. As usual, we begin with our meta segment, in which we consider influential forces and figures that have shaped the Star Wars franchise. Part of what makes this Padmé novel special is that Johnston is one of the first Star Wars creators from the Prequel Trilogy generation to attain the opportunity to contribute as a professional. In interviews, she shares that she first saw The Phantom Menace on her fifteenth birthday, and immediately built her fandom around Padmé, Sabé, and the rest of Amidala’s handmaidens. From fanfic to her career as a published author to books about Ahsoka and Padmé, Johnston brings priorities, values, and emphases to her Star Wars work that differ greatly from most contributors from the Original Trilogy generation. As even more peers from her generation join the franchise, Star Wars will broaden with new perspectives from new voices. We share our reactions to Queen’s Shadow in the storytelling segment. Padmé and Sabé are the principal characters, but the book has a lot of other elements to discuss, as well. In addition to the handmaidens from the Prequel Trilogy films, the novel includes appearances from characters in The Clone Wars animated series and connections to Claudia Gray’s novel Leia: Princess of Alderaan. Also noteworthy are several of Johnston’s new characters, as well as the variety of different forms of representation she includes in the story. For the world-building segment, we discuss the recently revealed details about Black Spire Outpost on Batuu, opening later this year at that Star Wars: Galaxy’s Edge expansions at Disneyland (May 31) and Disney World (August 29). From cast member costumes to food and beverage options, in-universe toys and attire for purchase, the Imagineers have developed an impressive range of immersive qualities for the theme parks. Fortunately, Disney has anticipated the high demand for the openings, and has several guest-flow control measures prepared to keep the experience from being overwhelmed by dense crowds. April brings the Star Wars Celebration convention in Chicago. Hyperspace Theories will be there, so check back for our coverage from the event. Related Links E.K. Johnston interview at starwars.com Lots of New Details in Star Wars: Galaxy’s Edge Press Previews (FANgirl post, with links to coverage at starwars.com, Nerdist, io9, and more) Galaxy’s Edge Opening Dates Confirmed (FANgirl post)