Hyperspace Theories

On Hyperspace Theories the team from FANgirl Blog discuss elements that impact Star Wars storytelling. Each month hosts Tricia Barr, BJ Priester and Kay Serna take a deep dive into creative individuals who impact the franchise, from George Lucas and Kathleen Kennedy to William Shakespeare and Hayao Miyazaki, then break down storytelling from worldbuilding to character development. Tricia Barr is co-author of Ultimate Star Wars, the definitive guide to Star Wars from DK Publishing, featured writer for Star Wars Insider magazine and author of the award-winning space opera WYNDE. BJ Priester is editor of FANgirl Blog; his writings on the Heroine's Journey is widely referenced by educators. Kay Serna writes book and movie reviews for FANgirl and is a regular on Disney Vault Talk's Rebel Yell.

Hyperspace Theories at 10: The State of Star Wars 10/28/2024

Hyperspace Theories at 10: The State of Star Wars 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 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: (The Hollywood Reporter; Oct. 3, 2024) (Variety; Oct. 3, 2024) /episode/index/show/hyperspacetheories/id/33647337

The Heroine's Journeys of the MCU's Echo and What If? Series 08/29/2024

The Heroine's Journeys of the MCU's Echo and What If? Series 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, 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 (March 2012) (March 2012) Contact Information: Hyperspace Theories: Twitter Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email Lex@fangirlblog. /episode/index/show/hyperspacetheories/id/32789912

THE ACOLYTE and Brand Management 08/07/2024

Metamorphosis and Sacrifice in The Bad Batch Season Two 03/22/2024

The Future of Star Wars 02/07/2024

Ahsoka and the Allegories of Mortis 01/01/2024

Ahsoka and the Allegories of Mortis 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: (Feb. 10, 2011) (Aug. 26) (Oct. 8) (Oct. 16) (Nov. 24) (Dec. 14) /episode/index/show/hyperspacetheories/id/29291453

AHSOKA Tackles the Jedi, the Force, and the Future of Star Wars 10/25/2023

AHSOKA Tackles the Jedi, the Force, and the Future of Star Wars 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 Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email Lex@fangirlblog. /episode/index/show/hyperspacetheories/id/28421639

Ahsoka and Anakin Reunite! 10/17/2023

Ahsoka and Anakin Reunite! 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 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: (Critic’s Choice Association; Sep. 24, 2023) Contact Information: Hyperspace Theories: Twitter Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email [email protected] 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. /episode/index/show/hyperspacetheories/id/28341455

Ahsoka Premiere: Masters, Apprentices, and Witches 08/26/2023

Ahsoka Premiere: Masters, Apprentices, and Witches The circle is now complete. Dave Filoni, longtime storytelling Padawan to George Lucas, has been Executive Creative Director for Star Wars for 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 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. /episode/index/show/hyperspacetheories/id/27855138

What Happened to The Mandalorian Season 3? 05/30/2023

What Happened to The Mandalorian Season 3? 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 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 Fangirls Going Rogue Skywalking Through Neverland (FANgirl Blog) (FANgirl Blog) (FANgirl Blog) (FANgirl Blog) (FANgirl Blog) /episode/index/show/hyperspacetheories/id/26989260

The Mandalorian Season Three Begins By Exploring Identity 03/28/2023

The Mandalorian Season Three Begins By Exploring Identity 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 Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email [email protected] /episode/index/show/hyperspacetheories/id/26364726

Facing the Ordeal: The Bad Batch Season 2 Episodes 7 - 10 03/04/2023

Facing the Ordeal: The Bad Batch Season 2 Episodes 7 - 10 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: (discussing Campbell and Vogler story structures) Contact Information: Hyperspace Theories: Twitter Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email [email protected] /episode/index/show/hyperspacetheories/id/26125119

The Trials of Bad Batch Season 2 02/07/2023

The Trials of Bad Batch Season 2 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 and an insightful post by Kathryn VanArendonk . Finally, we use B.J.’s post 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: (Vulture) (discussing Campbell and Vogler story structures) (YouTube) (YouTube) Contact Information: Hyperspace Theories: Twitter Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email [email protected] /episode/index/show/hyperspacetheories/id/25859313

Face-off: The Bad Batch and Separatists 01/16/2023

ANDOR: Ferrix Finale 11/23/2022

Everyone's In Prison in ANDOR 11/09/2022

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: /episode/index/show/hyperspacetheories/id/24954768

ANDOR: The Heist and Its Aftermath 11/07/2022

ANDOR: Where Is It Going? 10/03/2022

ANDOR Begins 09/20/2022

ANDOR Begins 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 /episode/index/show/hyperspacetheories/id/24440283

The End is Only the Beginning 08/14/2022

Ms. Marvel: History and Myth 08/10/2022

Ms. Marvel: History and Myth 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: (Nerdist) Ms. Marvel head writer Bisha K. Ali’s reading list about the Partition () Bon Jovi about Ms. Marvel (Sana Amanat on ) Contact Information: Hyperspace Theories: Twitter Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email [email protected] Priya Chhaya: Twitter /episode/index/show/hyperspacetheories/id/24020817

Seeing The World Through Kamala Khan's Eyes 07/12/2022

Obi-Wan Kenobi: Master of Two Worlds 07/06/2022

Night Light: A Ms. Marvel Podcast 06/29/2022

Obi-Wan Kenobi: Jedi Master's Trials 06/28/2022

Obi-Wan Kenobi: Expanding The Monomyth 05/27/2022

The Aimless Tale of The Book of Boba Fett 05/14/2022

The Aimless Tale of The Book of Boba Fett 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: Contact Information: Hyperspace Theories: Twitter Tricia Barr: Twitter ; email [email protected] B.J. Priester: Twitter ; email [email protected] /episode/index/show/hyperspacetheories/id/23110532

Hawkeye's Trick Shot 01/15/2022

Din Djarin's Arc in The Mandalorian 11/30/2021

The Mandalorians in The Mandalorian 10/30/2021

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