Star Wars fans love only one more thing than a mystery: speculating about how that mystery could have connections to other parts of the galaxy far, far away. But for as much as the franchise does indeed share that love of keeping it all connected, it’s not always actually planning on doing that.
Ever since we’ve seen its cluster of islands on The Acolyte, the unknown planet that the Sith Stranger calls home has been speculated by fans as potentially being another key locale: the planet Ahch-To from The Last Jedi. It certainly looks very similar, given the vast oceans and lush, mountainous island outcroppings—although location filming for the planet took place on the Portuguese island of Madeira, rather than Skellig Michael, the Irish island used to film Ahch-To in the Star Wars sequel trilogy. In the latest episode we learned it even has its own Porg-esque local wildlife in the form of the Skura, little beings that look like a mashup of a duck and an anteater. Plus, there would be something incredibly Sith about the idea of dark side users hiding in the shadows where the Jedi would least expect it: the home planet of the first Jedi Temple.
But alas, Star Wars fans craving connection, according to showrunner Leslye Headland, the planet is very much not Ahch-To. “It’s not Ahch-To. I know it’s similar, and it was intentionally supposed to be similar in terms of terrain and feeling isolated and surrounded by water and less lush green and more rocky,” Headland recently confirmed in an interview with Collider. “But the idea is that cortosis is mined on this planet, so I don’t think that’s the case with Ahch-To. Part of the reason this is his home base is that cortosis is a very rare metal. I don’t think we say it explicitly in the show, but that’s a reason it’s not Ahch-To.”
Headland further noted that explicitly only identifying the world as “Unknown Planet” in The Acolyte‘s location cards was an intentional nod to the series’ primary perspective being that of the Jedi Order and the Republic. “It’s an uncharted planet that they haven’t [mapped],” Headland added, touching on an element of the High Republic setting that’s not come up often in The Acolyte, but serves as a major piece of worldbuilding in the transmedia book and comics initiative that established the era: that this is a time period where the Republic and its allies are still expanding territory and charting the galaxy. Just because it’s unknown to them, doesn’t mean people like the Stranger didn’t know about it already—and in knowing it, he got access to a tool like cortosis he could wield against his enemies.
Whether or not the world will remain unknown by the end of The Acolyte‘s first season remains to be seen—the presence of cortosis deposits has had as many fans as those speculating it could be Ahch-To speculating that the world could instead possibly be a canonical version of Bal’demnic, a cortosis-rich ocean world that acted as a base of operations for Darth Plagueis and his master, Tenebrous, in the EU novel Plagueis. For now, sometimes a planet just looks like another planet.
A year after the Star Wars: Galactic Starcruisertook its last flight, here’s a look back at the best of Disney Parks’ bold venture into the immersive entertainment space—and why in the end, it couldn’t quite work.
James Mangold on his Future Star Wars Film | io9 Interview
At io9, Star Wars and fantastical realms of sci-fi coming to life are a major component of what we write about through films, shows, and theme park experiences. And that’s because bringing to life some of the idealized futuristic worlds we hold dear presents a lot of challenges—particularly when they’re brought into a very real world that may only really share themes of banding together with civil unrest against a fascist tyranny. In Star Wars the people find ways to come together and play a role to defeat the bad guys; in real life things are far more complicated.
To many Star Wars fans who were able to check out Galactic Starcruiser during its short-lived existence, the attraction presented a chance to act on the frustration many share in their day to day lives of watching atrocities happen and feeling like there’s little we can do about them. There was an irony in this, since Galactic Starcruiser was part of Disney, a major corporation that prioritizes its financial bottom line.
And indeed, Galactic Starcruiser’s exorbitant cost turned off a lot of folks who thought it was a hotel—which it never was, instead more resembling a fancy theater camp where you could wallflower it or actively participate in your own corner of Star Wars. Hotels are generally built around recreational, relaxing areas like a pool or a spa; the only amenities that reflected a familiar Disney vacation aspect aboard Galactic Starcruiser were the dinners and the Galaxy’s Edge excursions at adjacent Walt Disney World. On a surface level, that’s what probably misled regular folk—vacationers who don’t actively follow the immersive experiences niche—into thinking Galactic Starcruiser was a Disney Cruise on land. Coming on board to realize it was not, and that you had to get involved in ways that could be compared to pretending to be a coach for your fantasy football league, in a realm where you’re in the game, threw the unprepared off. That’s a big part of what ultimately led to Disney shutting down the attraction, which at its core was a community-building endeavor born out of Imagineering and Lucasfilm’s story trust to inspire at least a portion of people to feel like if they could be a part of a story like Star Wars, then perhaps they could take their experiences from it to the real world, in small and big ways.
While there’s a lot of outrage out there to deconstruct the pared-down end result that came from an ambitious idea, many folks who got to visit Galactic Starcruiser enjoyed the experiment, whether they saw it as an imaginative interactive playground to bring their loved ones to or experience on their own. It was a sandbox: if you wanted to be there to cosplay while trying funky-looking food and drinks, that was a path you could take; if you wanted to embrace the childlike wonder of lightsaber training and blasting baddies into space, there was that too. And some people just wanted their kids to play and meet their heroes.
The milage varied on how open and social you were willing to be to find the path of best enjoyment. On my own visit, I went in as a disenchanted space witch on her honeymoon, and with the intention of leaving behind how limited I felt in being able to change the real world. I quickly made an alliance with some reluctant scoundrels to help the good guys out, playing up some Cassian Andor vibes (I pretended to be a relative). I had some issues with having to be on my “data-pad” (what that really means: one’s own phone) to do the more gamer app stuff around Galaxy’s Edge; that was not for me as a non-gamer. But I found that character interaction and roleplay on board the ship to be a highly rewarding experience. I befriended other guests, young and young at heart; moved smuggled goods about (how did they know I’d be down to hustle the Empire?); and when my beloved and I needed a romantic space moment to share our vow renewals, the in-room droid—D3-O9, who encouraged me to help the Resistance—performed a whole ceremony that makes me cry to this day, because right after, she sacrificed herself and got attacked by the First Order.
That event, like in any hero’s journey, quickly radicalized me and I was able to find the Rebel princess for the people inside me I’ve dreamed of being since I was a little girl. Then it was on and along with the Padawans in training we led stormtroopers to their own imprisonment by pretending to lock up Chewbacca, used a fake proposal to move precious cargo, and stood tall with a galactic pop-star along with our fellow Resistance members to back up Rey when Kylo Ren showed up for the epic finale. And finally—when the good guys won—I was able to step into my power and begin the Jedi (witch princess) training I’d felt I long abandoned hope for. As soon as I ignited my lightsaber on that last night, I was ready to fight again.
Oh—and here are the vows D3-O9 recited for us:
D3-O9: You have come today to declare your promise of devotion to your chosen partner.
Please repeat after me:
…We vow to share our triumphs and troubles…
…No matter what difficulties may come…
…We share in each other’s successes…
…Not with jealousy, but with joy and admiration…
…We promise each other a life cycle…
…Filled with curiosity, humor, and adventure…
…We pledge unquestionable devotion…
…for we are worthy of each other’s love.
You are destined. The galaxy has connected you amongst the millions of other inhabitants. Though you may have once traveled singular paths, you now travel united, and stronger for it. Cherish your bond, and seek to share it, for your bond shall inspire others to seek their own. From love to love, the galaxy grows stronger. And you are now a part of that great and unending chain.
Like those who did find the best of our experiences to outweigh the kinks that had so much potential to be ironed out, it is nice to feel a part of that “great and unending chain” with those whose lives were enriched by the experience of the GalacticStarcruiser.
Oreo has dropped a collaboration with Lucasfilm featuring special edition Star Wars sandwich cookies. Fans will be able to buy packs of the classic treat representing either the light side or dark side of the Force.
The fun catch? You won’t know which side you’ve got until you actually open the package. Each pack will feature one of two different color fillings: red for the dark side and blue for the light side—both infused with “kyber” sugar crystals inspired by lightsaber cores. The Oreos also feature heroes or villains embossed on the cookies themselves, with characters like Darth Vader, Darth Maul, and a stormtrooper representing the dark side, and Luke Skywalker, Yoda, and Princess Leia representing the light side. In total, there will be 20 iconic characters featured.
The limited time Star Wars Oreo cookie packs will be available for presale starting May 30 at Oreo.com/StarWars and they will begin rolling out at retailers nationwide June 10. Take a look at the designs in the gallery ahead!
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The news was first reported by TheInSneider and a Lucasfilm representative could not be reached for comment. io9 sources, however, do believe the story to be accurate. There’s also no word on who Weaver could be playing in the film but it’s Star Wars! She could be anyone or anything: human, alien, bounty hunter, droid. She played a teenage version of herself in 2022’s Avatar: The Way of Water. She’s got range.
The Mandalorian and Grogu is the next Star Wars film coming and, with production expected to start later this year, it makes sense cast is starting to get locked in. Jon Favreau is writing and directing, as he has done on much of the first three seasons of The Mandalorian, with Dave Filoni and Kathleen Kennedy producing. We still don’t even have “official” confirmation of returning Mando cast members such as Pedro Pascal, Katee Sackhoff, and others, but we do know that Grogu will be there. And really that’s all that matters.
So what do you think? Does Weaver fit in a galaxy far, far away? Do you want her to play a hero? A villain? A scoundrel? Will you be buying her action figure? To that last question, we certainly say yes.
Star Wars loves nothing more than understanding a villain. Part of the reason the franchise’s greatest evils are also some of its most compelling characters is because it loves to dive deep into understanding why these figures are the way they are. The time has come for Morgan Elsbeth’s turn—and for us and the actress behind her alike to lift the lid on this wayward daughter of Dathomir.
Giancarlo Esposito Instantly Knew Baby Yoda was the star of The The Mandalorian
Although we saw Morgan meet her untimely end at the climax of Ahsoka, we will finally get to see more of what makes her tick this coming weekend when Star Wars day brings Tales of the Empire to Disney+. The new six-part anthology series delves into two tales of survival in the Imperial Age: including, of course, Inosanto’s return to Morgan Elsbeth, as we see her journey from Nightsister to Magistrate—and Thrawn’s right hand. To learn more about how she prepared to return to the galaxy far, far away, io9 sat down with Inosanto over Zoom to learn more about Tales of the Empire. Check it out in full below!
James Whitbrook, io9: Morgan has been well established in live action Star Wars. What surprised you about getting to visit her now in the realm of Star Wars animation?
Diana Lee Inosanto: For me, it’s the details the confirmation of finally, really understanding her background—particularly going all the way back to Dathomir, and what happened in that period of time. I love the fact that we see her love for people. I think people have been used to, in the live-action, seeing this more villainous approach [to Morgan], her own agenda. But I love that we get to go back and see what her people meant to her: her love for her mother, her love for her fellow Nightsisters, and that she was, still, in her own way unique.
As dark as it is, you understand why she had to become a survivor, and that every time, in every moment, she’s always thinking of her people, and her roots, and her heritage—that’s what I find fascinating about Morgan.
io9: We get to see her history with the Nightsisters here—how much of that history as we saw it in Clone Wars and Rebels were you familiar with as you started to embrace this particular facet of Morgan’s character?
Inosanto: For me, it was kind of… almost like an IV drip for me! [Laughs.] When I auditioned, I really didn’t know what I was getting into, to be honest with you. When I met with Dave [Filoni, Lucasfilm’s Chief Creative Officer and co-creator of The Mandalorian], that’s when I started learning. “Oh, she’s a Nightsister?” I understood even from the audition sides that this was a woman who was a conqueror, and that she was definitely resilient… and somewhat of a bully, in her later evolution. But I think it was down to her having to survive and being misunderstood.
The people I really leaned on and their work… there was Timothy Zahn, with all his books—because I figured there must be something that she has in common with the people that circle around Thrawn. The second important person I leaned on was E. Anne Convery [a writer in the Clone Wars: Stories of Light and Dark anthology], where she writes about the Nightsisters in her short story “Bug.” That was very instrumental for me to understand her better. I didn’t even know if Morgan, back then, was there to see what happened to her people—I just had to find out what was the culture, and the heritage, that she’d been a part of. And it’s going to be interesting because [in Tales] we’re going to learn more about all these other clans that were there on Dathomir too.
Image: Lucasfilm
io9: Part of what has defined Morgan so much for people is the physicality you’ve imbued her with. What was it like for you to transition away a little from that side of her now that you’re potraying her primarily through your voice?
Inosanto: I remember watching the behind the scenes [of The Mandalorian], of Pedro [Pascal] doing the voice of Mando, and I saw his physicality there. To me, when I’m in that recording booth, it’s still the same thing: I’m still locked up in my actor’s bubble, and I will do anything everything. I’ll get the breathing down, I’ll jump in place, I’ll move, I’ll grunt, to get everything right!
But my hat goes off to the Lucasfilm animation team—I met with them several weeks ago and I was stunned at the martial arts [on display in the animation]. Steward Lee [Lucasfilm animation director], who ironically had met my godfather [famed martial artist Bruce Lee] as a child, really loves martial arts. Several of the team members that were just on the fight scenes for Tales alone had an understanding of martial arts, and they studied videos of me on YouTube, as well as my fight scenes in Mandalorian and Ahsoka—and there’s some homages to my godfather, and my father. I think it’s an amazing compliment when people come to me just having watched the trailer alone, with the fight scenes, and they go, “Did you do mocap?” They think it’s actually me—that’s an idea of the sophistication of the animation.
io9: In Tales we get to see Morgan, as her story progresses, her meeting with Thrawn for the first time. Having established their relationship in Ahsoka, what was it like to play that moment for you?
Inosanto: I love that scene with Thrawn—especially because in some ways, they’re both considered outsiders in the Empire, right? They’re two very highly intelligent people who have their specific goals.
Lars [Mikkelsen] does such an amazing job as Thrawn, so it’s really easy to all of a sudden disappear into the space with him. When I recorded, I wasn’t with Lars, but I’d had enough time with him on Ahsoka to know and hear his voice in my head—and it came out, I feel, beautifully, in that moment, with him, and the whole Lucasfilm animation team, how they put it all so swiftly and smoothly together.
io9: Ahsoka gave us Morgan’s untimely end, and now Tales has brought us back to parts of her life before we met her in The Mandalorian. What’s a side of Morgan you think hasn’t been explored yet, that you’d love to see in the future?
Inosanto: If there was a chance to see her expressed somewhere in the Star Wars timeline… I always love playing characters that are a little bit vulnerable, and maybe seeing them laying down off on a trail to hell, whatever kind of people they become. That’s why I loved going back particularly to episode one [of Tales], because now you know where her vulnerability came from, her pain and the hurt and how she lost her people. It’s that reflection of her being connected to her roots, and this is really, truly what drives her. Sometimes they say that the most troubled people do what they do because they come from a place of fear and pain—we’re truly seeing a survivor [in Morgan].
And you know, I do love though, in a way, she is a character that just does not forget. She has this whole revenge factor that’s like… wow. [Laughs.] There’s just so much more to explore about this woman. There’s a lot of different shades to her.
Star Wars: Tales of the Empire begins streaming on Disney+ May 4.
When we first met General Grievous 20 years ago this month in Genndy Tartakovsky’s Clone Wars microseries, it gave him an immediate, chilling presence. But then Revenge of the Sith, and with it the Clone Wars 3DCG series, constrained what could be done with the character. Grievous took on the air of a Saturday morning cartoon villain—twirling lightsabers rather than mustaches. Tales of the Empire is keeping the twirling lightsabers, but it might just bring back a little of that original menace, too.
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Today Lucasfilm released the first clip from the upcoming anthology series Tales of the Empire—its spiritual successor to Tales of the Jedi, this time focusing on stories of the Dark Side, including the life of Morgan Elsbeth before she joined Thrawn’s service, and whatever happened to Barriss Offee after her radicalization against the Jedi’s role in the Clone War. Leaning on the Morgan side of things, the clip sees Tales’ own riff on a particular moment from the 3D Clone Wars series—the season four episode, “Massacre,” when as part of an act of vengeance by Count Dooku, Grievous and an army of Battle Droids launch a devastating assault on Dathomir to try and wipe out Asajj Ventress and her Nightsister comrades.
Tales of the Empire | ‘Stay Back’ Official Clip
The clip is brief, but very fun—if Star Wars is to insist on returning to stories of Clone Wars as it so often is these days, at the very least being able to do so in animation, with the lessons and experiences learned since it came to an end in place, is nice. Getting to see this moment first glimpsed 12 years ago with modern visuals and style is great! But it’s also because, given free reign to act here as the catalyst for Morgan’s traumatic past, Grievous just gets to be unleashed as pure, sinister id.
Going up against Obi-Wan or other Jedi in Clone Wars—never Anakin, of course, because the two were not allowed to actually meet until Revenge of the Sith—Grievous was most often doomed to be a bit of a jobber. He had his moments here and there, sure (the early season one episode “Lair of Grievous” is always worth shouting out), but in Clone Wars Grievous was usually far from the charismatically petrifying agent of death he was when he first stomped into animated canon in the 2D series. It might only be for a brief while, but at least Tales of the Empire looks like it’s bringing at least a little bit of that edge back.
Tales of the Empire begins streaming on Disney+ May 4.
So-called activist investor Nelson Peltz, who’s aiming to win two Disney board seats, has stirred up some controversy by calling out Disney’s recent era of “woke” strategy through diversifying its slate of films at Marvel Studios.
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The 81-year-old businessman, whose experience is with food companies including Wendy’s and H.J. Heinz as well as having once supported the DeSantis presidential campaign, had a lot to say about The Marvels and Black Pantherin an interview with the Financial Times. “Why do I have to have a Marvel [movie] that’s all women?” Peltz asked the publication. “Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?” Side note: Peltz happens to be the father of Nicola Peltz, who played Katara in 2010’s infamously very white Last Airbenderadaptation.
He continued, “People go to watch a movie or a show to be entertained. They don’t go to get a message.” Since he also claimed that he doesn’t have experience in media, it’s interesting to note that Peltz’s Trian Partners is pushing for this vote as part of Ike Perlmutter’s hopes for retaliation against Disney CEO Bob Iger, who terminated him from Marvel Entertainment last year. Variety reported that, “Trian controls roughly $3.5 billion worth of Disney stock, 79% of which is owned by Perlmutter.” This goes back to Perlmutter’s feud with Kevin Feige, who pushed for Black Panther and Captain Marvel. Perlmutter fought against diversity in Marvel’s slate until Iger stepped in to force his hand and allow the films to be made.
Ryan Coogler’s Black Panther, starring the late Chadwick Boseman, was a hit with $1.35 billion at the worldwide box office; it kicked off the Academy Award-winning franchise and brought more inclusivity to the Marvel Cinematic Universe. Proving Perlmutter wrong publicly while revealing the lengths the forner Marvel exec went to in order to stop diverse superhero toys, merch, and movies being made really propelled Feige into the public’s good graces. Recent misses for the studio including The Marvels havecaused some Marvel watchers to wonder if Feige’s position should be called into question. When asked by the Financial Times if it should, Peltz responded, “I’m not ready to say that, but I question his record.”
Disney board member George Lucas recently stood up against Peltz by releasing a statement (reprinted in Variety and elsewhere) to support Bob Iger in rejecting his bid. “Creating magic is not for amateurs,” Lucas said in a shot right at Peltz, who also admitted to the Financial Times he’s been a bit of a bully. (“What sense is being a billionaire if you’re not a bully?” Peltz has been quoted as saying.) Which is such a strange stance to bring into Disney, standing directly against all it represents.
Lucas continued, “When I sold Lucasfilm just over a decade ago, I was delighted to become a Disney shareholder because of my longtime admiration for its iconic brand and Bob Iger’s leadership.” He added, “When Bob recently returned to the company during a difficult time, I was relieved. No one knows Disney better. I remain a significant shareholder because I have full faith and confidence in the power of Disney and Bob’s track record of driving long-term value. I have voted all of my shares for Disney’s 12 directors and urge other shareholders to do the same.”
Peltz aims to add more board seats for his hedge fund firm through his Disney bid and support the agenda that Ike Perlmutter, his silent third party partner, has advocated for during his Disney tenure. The Hollywood Reporter disclosed that Perlmutter had this up his sleeve as soon as he was terminated, as he immediately pledged his stakes in Disney to Peltz. Before Iger came back Peltz had attempted a proxy battle with the company as a result of its losses, but was held off by his return. With this seat bid he hopes for round two in having more direct influence on the company board.
Star Wars products love a theme moment—Force Friday, Triple Force Friday, whatever the Force Friday equivalent for Rogue One was called. Maybe they just love Fridays, but now Lucasfilm and its merch partners are capitalizing on a whole month to sell you things, with a specific villainous twist.
This March is now Imperial March, because, well, duh, and Lucasfilm is planning a bunch of new merchandise announcements with a suitably evil theme. Hasbro is leading the charge with a wave of new figures from Jedi: Fallen Order, Ahsoka, and classic Star Wars across its 6″ and 3.75″ toy lines, and although “Imperial March” will be long done by the time any of them come out, it’s still nice to see what’s in store for the baddies on your shelves this year.
The Jedi: Fallen Order three-pack (featuring the vision of an Inquistor Cal Kestis, the Second Sister, and a Purge Trooper) will release this spring exclusively through Amazon for $75, while the Vintage Collection Captain Enoch and Night Trooper pack ($55), as well as the individual Darth Vader and Stormtrooper releases ($17 each), will be available from Hasbro Pulse and other retailers this summer. Click through to see pictures!
Titled “Joining the Panderverse,” the episode details Eric Cartman’s worst nightmare—that he’ll be replaced by a woman of color. When Eric wakes from the bad dream, he declares, “They were taking all my favorite people and replacing them with diverse women who complain about the patriarchy!” later adding, “And Disney stock keeps going down and down!”
Cartman’s dreams become reality in the form of a multiverse occupied only by women of color is led by South Park Elementary’s “PC Principal,” who accuses the characters of bigotry when they say recasting South Park’s white male characters “doesn’t make any sense.” Says the administrator, “If you don’t think Eric Cartman can be a Black woman, then maybe the problem is you. You probably don’t like that Indiana Jones got replaced by a female either, huh? You probably have a problem with Black Spider-Man, too“—referencing controversies that have cropped up around recent Disney titles like Indiana Jones and the Dial of Destiny, which notably didn’t replace Harrison Ford as Indy with Phoebe Waller–Bridge, and Spider-Man: Across the Spiderverse. The kids do, at least, support the latter film: “No! Miles Morales is sweet! That’s a whole constructed thing with its own character and narrative. This is just taking the same old Cartman and putting a Black woman in it!”
At one point, the episode features a fictionalized version of Disney CEO Bob Iger, who tells his fellow executives to “pander harder” to frustrated audiences via the “panderstone” that the studio uses to remake the same stories over and over. This is where Lucasfilm president Kathleen Kennedy enters the episode to repeat the same note over and over again: “Put a chick in it! Make her lame and gay!”
But before episode’s end, South Park creators Trey Parker and Matt Stone acknowledge the hatred that can spew from the anti-woke fans and commentators who place Kennedy directly in the crosshairs. Kennedy tells Cartman of the “hate mail” she’s received on the job, “ugly letters from racists who couldn’t stand that some of the panderstone’s rehashes had diverse women characters in the lead.” She admits that using the panderstone to “fight all bigotry in our society” was the wrong method. “All I ever wanted was to make great entertainment, but as as soon as you start getting piles of hate mail, endless messages calling you the c-word, you can’t think straight,” Kennedy says before apologizing to Cartman for being “so reckless with the things you love. It was just lazy.” To this, Cartman replies, “Well, I’m sorry I wrote all those letters…I guess just railing on woke stuff all the time is pretty lazy, too.”
In Respawn’s Jedi series, one of the constants across both games is the Mantis, a starship that’s kinda yours, but also not yours, but you use it enough that it may as well be. And I think, more than the combat or the jumping or the surprisingly Star Warsy tone of the games, it’s my favourite thing about them. At least in terms of what it brings to the table.
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Partly because it’s such a cool ship! Just look at it. It’s got a kind of “weird design presented in a surprisingly functional way” thing that Star Wars does so well, like a B-Wing but bigger, only it’s a “wing” that’s also kinda like a keel or a sail that pivots “upright” while in flight (there’s no upright in space, I know, but it’s upright relative to the rest of the ship) and then rotates flat when landing. A little excessive, I know, but it used to be a luxury yacht, so it’s allowed a big flourish or two.
STAR WARS Jedi: Fallen Order Stinger Mantis Interior
That “surprisingly functional” thing continues through to the details and interior of the ship. Despite its premium heritage it’s a heavy and dense vehicle, with cables and pipes and vents everywhere, and landing gear that would look more at home on a bulk freighter than an Old Republic Roadster. The inside, meanwhile, is as far from luxury yacht as you can get; it was designed with the series’ rugged adventures in mind, with a team of Respawn and Lucasfilm artists looking to old submarines and the Millennium Falcon for that mix of adventure and cramped practicality.
I mostly love the Mantis, though, because of the way it ties the games together. The Jedi games are based across distinct levels, and it would have been the easiest thing in the world to simply shuffle the player from planet to planet with nothing but a loading screen in between.
Instead, moving between levels in the Jedi games is a whole process. You end up at your ship at the conclusion of a stage, from where you can walk onboard, do some stuff, check out some relics and chat to your friends. Then you walk up to the ship’s map, select where you want to go (you don’t really have a choice, but the illusion helps here) and you’re away. The ship will take off—in real-time, leaving the completed world behind, which always looks cool—and then zoom into hyperspace. Only when the player sits down in their co-pilot’s chair will the ship exit lightspeed, the new planet will fill the windows and you’re ready for your next adventure.
Stars Wars: Jedi Fallen Order Traveling To All Planets On The Stinger Mantis Ship 4K UHD
It sounds so pedestrian, but I am 1.5 games into this series and it has been an absolute delight every time it happens, no matter how repetitive it threatens to become. The simple act of turning the end/beginning of a level into a whole thing, rather than just a cutscene, transforms the game. I don’t feel like I’m moving from one set of video game challenges to the next; I feel like I’m on an adventure, one that’s truly galactic in scale.
I sometimes, in the dead of night, wonder why I like the Jedi games as much as I do. When I break them down into individual components I’m not really a huge fan of almost anything that goes into them. I hate Souls games, the Tomb Raider/Uncharted stuff is fine but again, far from my favourite video gaming space, and I’m nowhere near as into Star Wars as I used to be.
But then I think about this ship, and the way it speaks to stuff I am very into, like Elite and Mass Effect and Privateer and Wind Waker (and even Assassin’s Creed’s ships and trains), games that have a central focal point for your journeys that serves as everything from a transport to a conversational hub. There are no Jedi games without Mantis, because so much of the game’s story, character and action revolves around it. Kinda like that whole ship revolves around that one, weird wing…
According to a a new rumor being circulated online, there will be three new Star Warsmovies announced very soon, likely at next month’s Star Wars Celebration in London. While that’s what the rumors are saying, fans will really just have to wait for the event in early April to see if that’s actually how things go down. The whole sphere of potential Star Wars movies has gotten very complicated lately. While we haven’t had a major film release since 2019, multiple Disney+series have been around to fill the void.
Multiple outlets have stated that two projects which were previously thought to have entered production are on the chopping block. Those two films are Kevin Feige’s unnamed project, and Patty Jenkins’ Rogue Squadron. That being said, two other Star Wars films are confirmed to be in their beginning phases, and no news has come out about any sort of cancellation. Those movies are an unnamed film directed by Thor: Love and Thunder’s Taika Waititi, and an unnamed film set to be directed by Ms. Marvel’s Sharmeed Obaid-Chinoy.
While those two movies and a surprise third entry could be the films that are set to be announced, that also may not be the case. It could also be that there’s a whole new trilogy on its way. Whether or not that trilogy would end up following the Skywalkers yet again is anyone’s guess.
On his Hot Micpodcast, Jeff Sneider also alluded to the fact that the current head of Lucasfilm, Kathleen Kennedy, could find herself in a tough spot if she doesn’t manage to deliver another Star Wars film in a pretty short time frame. To complicate matters even further, Bob Iger recently released a statement expressing the sentiment that they really wanted to be sure they were putting out the right stories. Rather than saturating the market with constant one-offs, it would make more sense to put a trilogy together. It’s just that if that’s truly the intention here, making Kennedy rush to put another entry out doesn’t seem like the best move.
“[The Sharmeed Obaid-Chinoy movie] is a big movie, not just for Star Wars, but for Kathleen Kennedy herself,” Sneider said. “So, I’m told that Kathleen Kennedy’s whole job depends on having a movie in theaters on Christmas Day 2025. If there’s no movie on Christmas Day 2025, there’s no job.”
This year’s Star Wars Celebration takes place on April 7 to 10 in London.
New gameplay from the upcoming Star Wars Jedi: Survivor seems to reveal that, unlike in the first game, the sequel will finally let Jedi Cal Kestis slice up stormtroopers and other human enemies. And that’s a good thing, as this much-wanted change makes lightsabers feel powerful and deadly again.
The lightsaber is one of the coolest pieces of Star Wars tech and genuinely one of the best fictional weapons ever created. Instantly iconic, the weapon and its sounds are so ingrained in our minds that when grown adult actors in Star Wars movies or shows are handed a prop lightsaber they make all the hums and whoosh noises like they were eight years old again. And I don’t blame anyone for loving the lightsaber. It’s a powerful laser sword that can cut off limbs, slice through metal doors, and it comes in rad colors. What more could you want? But for a long time, most Star Wars games—including 2019’s Star Wars Jedi: Fallen Order—haven’t let you really slice and dice with these iconic laser blades, treating them more like glowing bats.
Star Wars Jedi: Survivor Combat Stances Explained
However, in new gameplay released by IGN yesterday, we see that this doesn’t appear to be the case in Survivor. In a neat video going over how the game’s combat stances work, the devs showcase Cal fighting different enemies while explaining how his various moves will work and how stances factor into combat.
That’s all fine and dandy. But more interesting to me is what happens during the fight against some Imperial scout troopers at around 4:14:
Gif: IGN / EA / Lucasfilm / Kotaku
Look at that! Cal just cut a dude’s leg off. And if you look around the floor at that point in the video you can see at least two more cut-off limbs, likely from earlier in the fight. This is exciting!
Kotaku reached out to EA and Respawn about this dismemberment and was told “The footage is what it is” and that the publisher wouldn’t provide any additional comment.
For many years now, Star Wars games have made lightsabers feel pretty weak as it can often take dozens of hits to kill a random enemy and you never get to cut off limbs or do real damage to your target unless they are a droid or random animal. In an interview in 2019, Respawn senior designer Justin Perez seemed to imply Lucasfilm and Disney weren’t okay with lightsabers cutting off arms or legs. This was further backed up by people who worked on season 7 of The Clone Wars, which is also mentioned in that IGN interview from 2019.
So, I had assumed that was just how things would work. Cal could kill all the innocent animals and aliens he wanted, but he couldn’t chop any limbs off of stormtroopers. But it appears that Disney and Lucasfilm have either relaxed this rule or given Respawn a pass.
Either way, I’m excited to play Star Wars Jedi: Survivor and cut off some legs when it launches on April 28, 2023 for PS5, Xbox Series X/S, and PC.
Space Quest IV: Carolyn Petit and the Time RippersScreenshot: Sierra Entertainment
It must have been Christmas of 1991 that I found Space Quest IV: Roger Wilco and the Time Rippers under the tree, and got the gift of seeing exciting new possibilities in games.
I was a fan of adventure games, sure, having played a few games in Sierra’s King’s Quest series, not to mention Lucasfilm’s brilliant and bizarre early titles like Maniac Mansion and The Secret of Monkey Island. But this was my first experience with Space Quest, Sierra’s comedic sci-fi series starring Roger Wilco, the hapless space-janitor who finds himself thrust into one cosmic misadventure after another.
To be honest, I don’t remember much about the quality of Space Quest IV’s puzzles. What I do remember is how varied and vibrant its universe seemed, with harsh alien worlds, moody cantinas, and glitzy space-malls. But what really knocked my socks off about the game was how meta it was. After progressing a bit through Space Quest IV: Roger Wilco and the Time Rippers itself, poor Roger finds himself flung into (the non-existent) Space Quest XII: Vohaul’s Revenge II.
Screenshot: Sierra Entertainment
Today, it’s not so uncommon for games to break the fourth wall and wink knowingly at the player about being video games, to play with conventions in ways both tired and inspired. But wow, was this exciting for me in 1991! The game also sees you venturing into Space Quest X: Latex Babes of Estros (an obvious riff on the 1986 Infocom adventure Leather Goddesses of Phobos) and all the way back to the original Space Quest, which already looked humorously primitive and pixelated compared to 1991’s state-of-the-art graphics, making high(er)-definition Roger Wilco all the more conspicuous.
Screenshot: Sierra Entertainment
Space Quest IV may or may not be a great game, I honestly don’t remember well enough to say. I just remember sitting there on my Christmas break, awestruck by the clever meta-ness of it all, and having my mind expanded about the possibilities of what video game storytelling and structure could do.
Studio Ghibli, The famous Japanese animation studio behind classics like Princess Mononoke and Spirited Away has spent the past few days teasing a possible collaboration with Lucasfilm and Star Wars on its official Twitter. And there’s some evidence that it might be a Baby Yoda aka Grogu show based on a previous leak and a new tease.
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If you are reading Kotaku, I likely don’t need to explain Studio Ghibli or Star Wars, but let’s just pretend for a moment that you have no idea what these things are. This will just take a second, be patient. Studio Ghibli is an incredibly popular animation studio that was founded in 1985 in Tokyo, Japan. Since its creation, it’s gone on to produce beloved films, like My Neighbor Totoro and Kiki’s Delivery Service. Meanwhile, Star Wars is a massive sci-fi franchise that was created by George Lucas in the 70s and has since grown into one of the biggest things on the planet. Its most recent show, Andor, is amazing (and also filled with cool, but easy-to-miss Easter eggs!) And these two might be working together in the not-too-distant future, based on recent tweets from both.
Yesterday, the official Studio Ghibli Twitter account tweeted out a short video showing the Lucasfilm logo and its own logo. That was it. But it was enough to get people talking and going “Hey, what’s that all about, then?” Shortly afterward, the official Star Wars Twitter account re-shared the teaser as well. This did two things. One, it killed my hopes that the anime studio was working on an Indiana Jones series, and two, it confirmed that whatever they are collabing on involves Star Wars. Now, earlier today, Studio Ghibli doubled down on the connection to the famous galaxy, far, far away with a follow-up post showing an image of Grogu, also known online as Baby Yoda. The official Star Wars account has since re-tweeted the image.
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This alone seems like solid evidence the studio is doing a Baby Yoda short or movie or animated series. But even before today’s tweet and yesterday’s tease, we knew Disney and Lucasfilm were likely working on a Grogu project of some kind. That’s thanks to a previous leak from the Italian Disney+ Twitter account earlier this month. That leak pointed toward a November 12 release date, which is coincidentally tomorrow. It’s also the three-year anniversary of the premiere for The Mandalorian, the show where Grogu first appeared.
All of this points to the very real possibility that very soon, Studio Ghibli and Lucasfilm will release a new animated Star Wars short starring Grogu. Or perhaps that leaked short has nothing to do with this project and instead, Ghibli is working on a segment for the next season of the Star Wars anime spin-off anthology series, Star Wars Visions. Time will tell…
As you may know, I’m a big ol’ Star Wars nerd. And one of my favorite things in Star Warsmedia is all the tiny references and Easter eggs embedded everywhere. But sometimes this fan service goes overboard and derails a story in a way that alienates or bores non-fans. Andor, the newest TV show set in the Star Wars universe, not only avoids this problem, but also finds perfect ways to utilize nerdy Star Wars lore without making it tedious or annoying for folks just wanting to watch a good show.
Andor, which premiered in late September on Disney+, is the latest entry in the Star Wars franchise and is set before the events of the original Star Wars film and the movie Rogue One. It follows the life of Cassian Andor, played by Diego Luna, as he navigates a galaxy controlled by the evil Empire. He’s not yet the rebel we know from Rogue One, but over the course of this season and presumably the next season, he will evolve into the man we met in that popular spin-off.
Disney / Lucasfilm
People across my timeline have been loving Andor. Even people who’d previously sworn off Star Wars entirely are back and enjoying every minute of the series. Many of them happily point out how the show isn’t a giant excuse to do fan service every week. But funnily enough, Andor has some of the coolest and most interesting bits of deep-cut Star Wars lore out of anything Star Wars-related in years; it’s just handled so well that most folks miss it all.
A great example comes in how the show handles Cassian’s home planet. In the first episode of the show, we learn that Cassian was born and raised on the planet Kenari. It’s newly created for Andor, which allowed showrunner Tony Gilroy more freedom to do whatever he needed with it and its people. But, technically, we already knew of Cassian’s home planet, and it wasn’t Kenari. Back when Rogue One came out, Lucasfilm released various book tie-ins. One reference tome listed Andor’s home world as Fest, an old Star Wars planet that first appeared in the game Dark Forces. So, at first, I thought the show had simply retconned that origin away. I wasn’t too annoyed by this, as I always prefer when Star Wars media focus on story over lore.
But then, in Andor episode two, we learn that Fest was a lie that Cassian and his adoptive mother told everyone to hide the truth of where he was really from, Kenari. For most viewers, that scene wasn’t that big of a deal: Cassian lied because he was trying to hide where he came from, got it. But for Star Wars nerds like me, it was a fantastic way to retcon something using Star Wars lore while still honoring a reference book from years ago. And it didn’t interfere with the show at all, allowing normal, non-Star Wars sickos to enjoy the show without rolling their eyes at some forced bit of fan service.
Lucasfilm / Star Wars Explained
Andor is filled with Star Wars lore and connections like this that it sneakily deploys in ways that make sense for general audiences, but which have deeper, interesting connections to the franchise’s decades of prior material. And unlike the last Star Wars show, the fun (but not nearly as good) Obi-Wan Kenobi, Andor doesn’t get tangled up in fan service that distracts from the actual story and characters. The refs are there to find in Andor, if you care, but it’s totally fine if you just want to enjoy the thrilling ride instead.
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For example, Mon Mothma’s daughter, Lieda, isn’t a brand-new character, but instead a very deep-cut one who barely existed in the old Star Wars Extended Universe. So her popping up in the show not only brought her into canon, but was a very fun bit of fan service that didn’t stick out to most viewers.
Similarly, the kyber crystal Luthen Rael gives Cassian as payment for helping with a heist has its own subtle connection to old Star Wars lore. Sure, many viewers probably know vaguely that a kyber crystal powers lightsabers. And many also probably recalled that we previously saw Rogue One heroine Jyn Erso wearing a similar necklace. But while folks were looking at the crystal and going, “Oh that’s a thing I kind of know about…” Luthen drops one of the coolest bits of lore in the show, explaining that the crystal “celebrates the uprising against the Rakatan invaders.” That might have set off alarm bells in the heads of any fans who played Knights of the Old Republic.
That’s because the Rakatans were created for that game. They were an ancient race of super-powerful aliens who possibly invented hyperdrive and at one point controlled the galaxy as part of their Infinite Empire. Technically, they’ve been mentioned in canon before, but this is really the first big re-introduction of the species. Pondering how they could work into future Star Wars stories set far in the past has me very excited.
Speaking of video game references, in Luthen’s shop—which is chockablock with fun Easter eggs that could fill a whole separate blog—we see what appears to be a suit of Sith Stalker armor as first seen in Star Wars: The Force Unleashed. That game and its main character, Starkiller, are no longer canon, and this armor popping up in Andor doesn’t change that. But it could hint that perhaps one day parts of Force Unleashed will be reintroduced into the modern Star Wars universe. I mean, if Jaxxon is canon these days, anything can happen.
But all of these deep-cut references and bits of fan service were likely never spotted by 90% of people watching Andor, even though some of them directly connect to the plot or the show’s characters. That’s an impressive feat to pull off, and based on interviews with the show’s creator, Tony Gilroy, a lot of this was included by Lucasfilm nerds and not himself. He recently told Varietythat he works closely with lore experts like Pablo Hidalgo to make sure he’s not doing anything that breaks the Star Wars universe. But for him, his real focus is on Andor’s story and its characters, not references to manuals or old video games.
“The art department will sneak in all that crap into Luthen’s gallery,” Gilroy told Variety. “I had no idea. Like, ‘Oh my God, the thing in the background!’ and people are blowing it up. That’s the art department. So many cool people work on the show. There’s a deep geekdom in Pinewood, believe me.”
That’s how it should be. If Disney wants to continue to create amazing Star Wars productions like Andor, it should bring in more creators and directors like Gilroy. People who, sure, might not be the biggest Star Wars fans in the world, but who have interesting stories to tell. Let those people create cool stuff while the nerds at Lucasfilm fill in the gaps with fan service that weirdos like me can get excited about, while never ruining the show for everyone else.
I admit, this is a hard balance to strike, and I don’t expect all future Star Wars projects to be like Andor. In fact, I would prefer a world where we get both shows like Andor, which are for everyone, and shows like Tales of the Jedi, which are good but clearly target Star Wars nerds like me. Star Wars can’t grow if it only focuses on its big fans, and Andor shows that when you expand the franchise and do something different, you not only end up pleasing longtime Star Wars nerds like me, but also reach a whole new audience that might never have cared about Star Wars in the first place. Plus, Andor is just really entertaining, so more shows like this sounds like a good thing to me.
