Ahsoka review – more bad Star Wars in a galaxy too far away to care about
Despite having an all-female trio with immense potential, the latest space series squanders our vested interest in the franchise. Even the droid voiced by David Tennant, which could have been a fantastic opportunity, fails to live up to its promise.
Star Wars TV series have reached a juncture that Marvel superhero shows crossed a while back: devoted fans of the franchise eagerly consume every new installment, yet casual viewers find it increasingly challenging to allocate time for blind commitment.
So, does Ahsoka provide a crossover spectacle akin to the excitement of Andor, the initial two seasons of The Mandalorian, and the concluding Book of Boba Fett episodes? Or does it lean towards catering exclusively to die-hard fans, resembling the hit-and-miss pattern of Boba Fett, recent Mandalorian episodes, and the entirety of Obi-Wan Kenobi?
Following a compelling opening double feature that introduces us to the renewed exploits of Ahsoka Tano (Rosario Dawson), the verdict remains uncertain. Ahsoka exhibits echoes of the thrilling elements that elevated Andor and the early Mandalorian, yet it grapples with the same ailment afflicting lackluster Star Wars content: an excessive reverence for the franchise’s lore, leading it to underestimate the need to continually captivate our attention.
In our story, our protagonist emerges as a former apprentice to Anakin Skywalker, the individual who ultimately transforms into Darth Vader, yet she herself steers clear of the path to the Dark Side. Defining Ahsoka precisely can prove elusive, a trait less than ideal for a central character. She embodies a blend of mentor, vigilante, and problem solver, projecting a composed and resolute demeanor in an era fraught with delicate progress.
The colossal Galactic Empire has crumbled, but palpable concerns about its resurgence persist. Ahsoka embarks on a mission to track down and neutralize Grand Admiral Thrawn, a banished champion of the Empire. Her investigation reveals the potential of an ancient map to unveil his concealed location.
However, the pursuit is complicated as malevolent mercenaries, wielding powers reminiscent of Jedi, display an unsettling interest in the map. The race is on, yet it’s a race characterized by a distinct lack of haste.
The setting of Ahsoka immerses us in a galaxy so distant that it seems oblivious to the time-honored screenwriting principle of entering scenes at the heart of the action and departing before they overstay their welcome. Consider a scenario in which Ahsoka explores an abandoned subterranean hub on a desolate planet.
True to the series’ essence, this aged, creaking sanctuary boasts exquisite design. The ambiance exudes a delightful Indiana Jones aura as concealed trapdoors are unveiled, relics emerge from the sand’s embrace, and stone obelisks are meticulously rotated to awaken their enigmatic potency.
Nevertheless, the unfolding unfolds at a deliberate tempo. If your engagement with the show lacks the fervor of savoring each of Ahsoka’s undertakings – enthusiasts have devoted over a decade to observing her evolution in animated series like Clone Wars and Rebels – you might find yourself questioning the rationale behind dedicating precious minutes to watching a woman unravel the mysteries of a map.
After a considerable amount of admiring the undoubtedly impressive CGI backgrounds and a fair share of scenes involving people’s leisurely ambles preceding action, a cohort materializes. Ahsoka’s necessity for aid in deciphering the map propels her to take a calculated risk on her gifted yet volatile former apprentice, Sabine Wren (Natasha Liu Bordizzo).
The introduction of more dependable assistance arrives through Hera Syndulla (Mary Elizabeth Winstead), a high-ranking figure within the benevolent New Republic.
The potential within this assemblage of accomplished women lies in the prospect of a multi-layered, character-focused approach to interstellar escapades. The maternal Ahsoka and the nurturing Hera embark on the endeavor of cultivating Sabine’s untamed warrior aptitude.
While Ahsoka occasionally veers into the enigmatic territory – at times resembling a sitcom mother, arms folded in wordless frustration at the folly around her – and Hera’s primary discernible feature so far is her emerald countenance, the foundational dynamic is evident.
Not to say that the series neglects exhilarating action: Sabine’s impulsive nature ensures that hoverbike duels and foot races are just around the corner. Ahsoka routinely demonstrates her impressive skill of wielding her lightsaber in a reverse grip.
Furthermore, an investigative expedition to a bustling port introduces a touch of Andor-esque insight into the unending struggle against fascism. As the realization dawns that although the domain is no longer under the Empire’s control, enlightenment has yet to touch everyone who holds authority within it.
The groundwork is undeniably laid, contingent on the show’s capacity to recall that Star Wars, at its pinnacle, exudes briskness and amusement, as opposed to sluggish gravity. Another instance of unrealized potential surfaces in the form of Huyang, a droid brought to life by the voice of David Tennant (reviving his role from Clone Wars).
Huyang revels in a persona reminiscent of a caring yet meticulous butler, adorned with shades of PG Wodehouse’s Jeeves and Red Dwarf’s Kryten. However, in a series where, whenever a new concept requires an introduction, characters frequently convene and engage in dry dialogues about the very concept – the “show don’t tell” principle seemingly not having traversed the cosmic expanse intact – Tennant frequently finds himself grappling with the task of injecting humor into lines that lack it.
As with every facet of Ahsoka, his potential could be exponentially greater if afforded the liberty to break free and regale us with his prowess.
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