Author: Charles Murphy

Since Disney’s acquisition of Lucasfilm in 2012, the studio’s projects, both film and television, have been unevenly received by Star Wars fandom. It’s been eight and a half years since the nostalgia-driven Episode VII-The Force Awakens launched the Disney Star Wars era and in that time, segments of the fandom moved from a sense of uncertainty and unrest to vocal and volatile about the direction of the franchise. Almost echoing the history of the Jedi Order itself, Star Wars fandom experienced the First Great Schism when Episode VIII-The Last Jedi hit theaters. As fans grew increasingly displeased with the further exploration of the Skywalker Saga and the themes originally developed within it by George Lucas, Lucasfilm President Kathleen Kennedy recognized a need to move away from the Skywalkers and the outline of The Maker. However, even as the ascension of heir to the empire Dave Filoni began as Disney Plus allowed for more stories to be told through streaming series, it seemed hard to break away from the addiction to the Skywalkers. Even as the Creative Grand Admiral of Lucasfilm’s Star Wars division, Filoni‘s projects continued to feature Skywalkers as Luke made an appearance in The Mandalorian and Anakin in Ahsoka.

While the desire to connect each new project to the brand’s most recognizable names can be easily understood–especially since so many of the key creatives currently working on Star Wars projects grew up as fans of the brand–it remains a cord that has to be cut. Enter Leslye Headland. Like Filoni, Headland is a lifelong fan of the franchise who describes her love for Star Wars as existing on a “deep cellular level.” And, like Filoni, she has grown into adulthood pondering, meditating on and dreaming about the galaxy far, far away. And now, in The Acolyte, Headland gives fans a brand new entry point into that galaxy that allows fans to engage with the same themes and concepts that Lucas made central to Star Wars but in an all-new era of stories that does not depend on the Skywalkers or, so far, even a passing familiarity with their stories. Steeped and connected in the mythology of Star Wars yet independent of anything that’s come before it, The Acolyte is Disney’s boldest storytelling effort to date within the franchise as it looks to redefine itself.

Set at a time in the High Republic era that precedes the events of Episode 1-The Phantom Menace by a century, The Acolyte represents a daring new direction for Star Wars. And through four episodes, it blazes the trail that the franchise sorely needed. Headland‘s intrepid exploration of the High Republic is ripe with thematic parallels upon which Lucas built the foundation of the franchise and toys with the expansion of the mythology similar to Filoni’s work. However, The Acolyte is singular in that outside of the briefest of cameos that casual viewers will never recognize, Headland does it all with a new cast of characters who are incredibly easy to like from jump street.

As the franchise sputtered through the sequels, Kennedy believed the future depended not only on moving away from the Skywalkers but also on allowing talented creators to expand the Star Wars sandbox beyond Tatooine and to tell character-driven stories. The Acolyte succeeds on both counts. While it’s billed as Star Wars-noir, it tells a Star Wars tale as old as time that explores the duality of good and bad and centers around relationships. At the center of the story are twins, Osha and Mae, and Jedi Master Sol, whose history with the twins allows Headland to explore flaws inherent in the Jedi Order. Within the first four episodes of The Acolyte, the dynamics of the Jedi–who are at their peak during the High Republic–reveal the beginnings of the cracks in the firmament that ultimately allow for their fall. Star Amandla Stenberg‘s transition between twins Osha and Mae is smooth and effortless and among the franchise’s best in years and Lee Jung-jae’s compassionate Sol joins the ranks of the Jedi Order’s most loveable Masters.

Despite the Great Schism, Star Wars lives on and as Jedi Padawan Jecki Lon shares with Osha, “we’re not defined by what we lose; we’re defined by what we survive.” The Acolyte stands as a wonderful example of survival and adaptation. It’s an all-new era of Star Wars with no keepers standing at the gate and no background necessary to enjoy. It delivers one of the franchise’s most beautifully shot episodes to date in Episode 3, many of its most interesting new characters in what seems like forever and some of the best-looking action sequences ever shot in the galaxy far, far away. The screener package left us at one helluva cliffhanger but should the second half of the series deliver on the promises made in the first, The Acolyte will become the first step in a new direction the franchise sorely needs.

Sources: Vanity Fair,