Season 1, Episode 22 - Hostage Crisis

As a season finale, Hostage Crisis owes something to the original Clone Wars microseries. Instead of tying up loose ends, they're teasing what's next. Grievous made his debut at the end of the first season the original Clone Wars cartoons.

The first season of the new The Clone Wars also comes to a close with a debut. Less a stand alone story than an introduction, Hostage Crisis features Cad Bane, a Bounty Hunter inspired by Spaghetti Westerns. Impressively, he storms the Senate Building with some other well-paid scum (notably fan favorite Aurra Sing) kills a whole lot of Senate Guards, and quickly has the place in lockdown. His demand: release Ziro the Hutt.

Oh God No. Please don't release Ziro the Hutt!

I mean it. Any episode with Ziro the Hutt in it instantly loses a half star from me, at least. Because Ziro the Hutt is just plain ... oh boy. Not good.

What could possibly make up for him? Cad Bane pretty much being as cool as promised. He fits well into the gunslinger feeling one which much of Star Wars lore is built, and he was given the benefit of getting the best of our well-known characters in his first appearance. It's always good to have a character around who plays to win, and is a wild card (see Omar in The Wire). Cad Bane has great potential for the upcoming season.

The episode itself was good, but not one of the best. It was hard not to notice that the Senate Building on the Capital of the entire Republic is guarded incredibly poorly. (Meaning: not credibly.) The way in which Anakin lost his lightsaber was also overly contrived. His scene with Padme was yet another not terribly good love scene between them (you'd think they'd just leave it alone at this point) and it gave new meaning to the phrase "Giving Padme my Lightsaber."

I'm sorry. I had to.

Anyway...

Anakin's own attempts to fight and win without a weapon were certainly entertaining. The direction was solid in these action sequences. The dimly lit hallways, the Senate chambers, all felt a bit eerie with the place locked down. I also enjoyed Anakin's hand to hand combat with the Assassin Droid - energetic, fun to watch, all around cool.

The Anakin and Padme dynamic, too, even if some of the dialouge is clunky, is a key one to the Star Wars story. It is, after all, the reason Anakin becomes Darth Vader. So kudos to the writers for bringing that front and center even as clone troopers and bounty hunters populate their frames. Star Wars isn't about cool killers, in the end. It's a heroes journey. Everything else is decoration.

Rating (out of five): *** 1/2

And so, the first season comes to a close. Thanks to everyone who has followed this blog so far. If I find time, I'll do first season recap (some of those star ratings could change in retrospect!) and a little bit of posting here and there. I'll be sure to be back with reviews when Season 2 appears, and a write up of the DVD release when it arrives.

May the Force be with You!

Season 1, Episode 18 - Mystery of a Thousand Moons

Following Blue Shadow Virus immediately is Mystery of a Thousand Moons. This installment embraces a larger view of the Force: it's one of those wonderful moments in Star Wars, like with the Cantina or Jabba's Palace, when we're presented with a wealth of new designs and characters. It's also more than just the successor to Blue Shadow Virus chronologically; in both episodes' DNA is The Phantom Menace.

When Padme, Ahsoka, Jar Jar and the Clones find that the virus has been set free in the underground laboratory, they battle to keep the Droids from breaking through the outer shell and releasing the airborne virus into Naboo's atmosphere. In the midst of this, they find themselves exposed to the virus. The only way to save them is to find a cure, and quickly. Obi-Wan and Anakin rush to the planet of Iego, to find the rare root from which an antidote can be fashioned.

Iego (as anyone bothering to read this blog will remember) is name dropped by Anakin Skywalker in Episode I, when, as a 10 year old boy, he tries to put the moves on Padme. "Are you an Angel?" he asks. "I've heard the deep space pirates talk about them. They're the most beautiful creatures in the universe. They live on the moons of Iego, I think." 

Ahem. 

The quality of the line not withstanding, here, our patience is once again rewarded. Not only do we find ourselves in Iego, but Iego is richly realized. Abandoned and trapped by what the denizens call Drol (because their terrifying God tells remarkably good jokes at dinner parties), the characters we meet on Iego are eccentric to say the least. And yes, we get a look at an "Angel" (voiced by Padme's voice performer Catherine Taber in a nice touch). We also meet a few new creatures, and an Anakin-esque boy named Jaybo Hood.  

Jaybo, for his part, wasn't a part of the episode I relished. Maybe it was that David Kaufman's voice work lends Jaybo a decided Saturday morning cartoon tone. Or perhaps it's because there seems to be no limit to the remarkably smart children in the Star Wars prequel universe.

There also seemed to be something "off" about the timing. As Padme and Ahsoka are rapidly dying in a small contained area, Obi-Wan and Anakin go to Theed, interrogate a prisoner, fly to a completely foreign planet, find a cure to a disease, escape the inescapable, etc. It felt a little like time was being truncated for the heroes, but stretched out for those in peril. Also, if opening the laboratory at all would cause the virus to kill most of the life on Naboo...how did they get Padme, Rex and Ahsoka out of there?

The episode has its definitive strengths; most prominent among them is how well Anakin and Obi-Wan's differences are played. While we know that Anakin's headstrong nature will lead him astray in the long run; it's also hard not to sympathize. His wife is, in fact, dying. It's also wonderfully obvious that Obi-Wan is no fool. When Anakin refers to the Senator as Padme, it's Obi-Wan who gives him a non-verbal reminder to keep up appearances. 

Also, as with many of the later episodes, the animation has matured. I love the brilliant blue of the virus's haze; which stands out against the yellow uniforms and red safe room. The look of the re-purposed battle droids, and the Angels, are all memorable as well.

All in all, I definitely enjoyed this episode, but it didn't have the compact plotting of its predecessor, and a few logistical issues nagged at me as I watched.

Rating (out of five) *** 1 /2 

Season 1, Episode 17 - Blue Shadow Virus

I confess: I have a soft spot for Naboo.

In 1999, I was sitting in a theater, watching someone called Qui-Gon Jinn run away from a weirdly bulbous tank, on a planet, a completely new planet, a planet I'd never heard of... I think there was something so completely satisfying about the experience that I've never really shaken it off. It's that feeling that made me love the prequels; that feeling of getting something you wanted after being about as patient as a, well... a Jedi Master. The planet of Naboo said, "Star Wars is back and it's new." I was anticipatory and nostalgic all at once.

Now, Naboo conjures its own form of nostalgia. That's how terribly old this is all making me feel.

I say all this because Blue Shadow Virus, an action packed episode, and the first of a two-parter, has The Phantom Menace written all over it. As much as the previous episode, Trespass, embraced the imagery of Ralph McQuarrie; Blue Shadow Virus gives the nod to Doug Chiang. Chiang's designs are less angular than his predecessors, more sleek. He embraces the Buck Rogers elements of the saga. Where the original trilogy has a hardscrabble, 'lived in' feel, the prequels show an ornate and peaceful galaxy, built not only for use, but also beauty. Blue Shadow Virus captures, aesthetically, that spirit.

What it also gives us, for the first time in Star Wars, is "The Mad Scientist." Amazing that we haven't come across this particular character type before in the Star Wars saga. Here, we get Dr. Nuvo Vindi (gleefully voiced by Michael York) who is creating a biological weapon for the Separatists. The weapon is based on the Blue Shadow virus, which we're told was wiped out entirely because no life form was immune to it. Not only is Vindi bring the virus back, but has created a strain that is airborne and sticks into into a bunch of bombs. (I expect novels and comic books about the Blue Shadow virus's history any day now.)

The episode is teeming with life. We see Captain Typho for the first time in the series; we see the return of the "rabbit droid;" we meet two new characters; and the entire prequel trilogy cast is present. Even Mace Windu and Yoda stop by for a cup of hologram coffee.

What is a marvel, given all this, is how well everything fits together without ever feeling rushed. The episode feels more like the Escape from Jabba's Palace in Return of the Jedi than anything else: a series of discreet set pieces and objectives all edited together hyper kinetically. Even though this episode aired originally back-to-back with episode 18, it feels entirely complete on its own, in just about 22 minutes of actual airtime. Quite a feat.

If there's anything that pulls the episode back from perfection, it's the silliness that pervades the plot. Vindu, though hilarious and cunning, is also played so broadly that it was hard to take him seriously as a threat. I was also unclear (as I often am) about what the Separatists had to gain by releasing a deadly virus. Aren't they Capitalists? Can't sell anything to the dead, can you?

Balancing that effect out is the note-perfect dynamic between Obi-Wan and Anakin. We shouldn't forget the primary struggle in Anakin and Padme's troubled lives is their secret love. When Padme is in danger, Anakin can barely contain his edge, his desire to protect her above all else. Obi-Wan's slightly raised eye brow, and counselings of caution, are both foreboding and endearing. It's always good to see the writers in this series highlight the complex character dynamics from the prequels. Those complications add a necessary depth to what could be just very well-made Saturday morning cartoons.

Ratings (out of five) ****

Season 1, Episode 8 - Bombad Jedi

Poor Jar Jar Binks. Universally acknowledged as the jump-the-shark character for many fans, and he appears in the first twenty minutes of The Phantom Menace. The backlash against him was so fierce, that his dismissal in Attack of the Clones drew cheers from live audiences, and his appearance in Revenge of the Sith was little more than a cameo.

I won't deny that I found his character a bit cloying, but he also had one moment in The Phantom Menace that showed his character as he could have been. Just before the final reel, on Coruscant, Amidala is staring out at the horizon, feeling trapped by her circumstances, helpless to save her citizens. By her side is Jar Jar Binks. In that moment, he stops yelping and falling over, and speaks about his people.

It's in this moment the now infamous "yousa thinkin' yousa people gonna dieee?" line appears. But if you watch that scene, Jar Jar never seems more photo-realistic, more honorable, and more soulful. It doesn't seem (excuse me) jarring; it seems like a natural extension of the character. There was always, it seemed, intended to be a noble soul beneath the clown. Something redeemable and even wise.

It's a shame that the films were never able to adequately mine this part of the character. Instead, he was written off-stage left. He's given an important trivia note in Star Wars lore, certainly (He's to blame for giving Palpatine emergency powers) but chalk that up to just further humiliation for the character. The powers-that-be heard the outcry, and threw Binks under the bus.

I say all this because... I enjoyed Bombad Jedi. I thought it was really rather funny, and made use of three characters in Star Wars that certainly (at least in the prequels) had some rough spots in terms of audiences embracing them. (Heck, C3-PO is one of my favorite characters, and even I groaned when I heard "This is such a drag!") I was glad to see some great character work, Jar Jar's heroic efforts, Padme's ever likable characterization in the series, and the always wonderful Anthony Daniels collecting another well-earned paycheck. It was also brought to life by Kevin Rubio, of Troops fame, and you can see him taking pains to use the slapstick for good effect. The sight gag of Padme's Naboo Cruiser being thoroughly leveled is a good one for the Clone Wars highlight reel, as well.

And while this is the "Jar Jar Episode" the story is really Padme's. Set on Rodia (homeworld of those who shot second), it's a reenactment of Ambush's dilemma - will the planet side with the Separatists or the Republic. All of this was perfectly servicable, and watchable, if not all that interesting.

All in all, though, Jar Jar remains his least interesting self. More than even in the films, this Jar Jar is an idiotic boob, relentlessly failing, with a childlike intellect. His victories come almost entirely by accident, and we are meant to view him, at best, as well-meaning. I'd love to see a hint of the noble Jar Jar beneath the surface, that was given short shrift in the films when the character fell instantly out of favor.

Rating (out of five) **1/2

Season 1, Episode 4 - Destroy Malevolence

As excited as I will be to see the Clone Wars series cover uncharted territory with the freedom of a weekly series, Destroy Malevolence mines nostalgia with such joyful precision, I couldn't help but love it.

This third part of the Malevolence "trilogy" does something that the prequels failed to do in any serious way: it brings all the main characters together for a single adventure. The episode plays out like a prequel-toned "rescue of Princess Leia and escape from the Death Star" in A New Hope: Padme winds up trapped on-board the fleeing Malevolence, and it's up to Anakin and Obi-Wan to get her off the ship before they can allow the Republic fleet to destroy it. In the midst of this clear nod to the original trilogy, it weaves a quilt of prequel issues and tropes together with real style.

The prequels and original trilogy do different things well. The prequels are deeply ambiguous stories, with an epic sweep and over-the-top visuals. If they lacked anything substantial, it was the friendships and gee-whiz spirit that made the originals fun. The originals, for their part, do an amazing job of creating a huge scale of the technology of the time, but their popularity persists because of the closely held mythology of the stories, and the sense of real adventure that finds its core characters.

With Destroy Malevolence, we see the partnership of Anakin and Obi-Wan in full bloom (Ashoka is thankfully watching this story from a distance); we get a sense of C-3PO and R2-D2 as a comedic duo; we see Padme at her most engaging (Padme the animated characters is far livelier than Natalie Portman, sadly); and we get to see them working together to defeat a common enemy. There are loads of great character moments, not the least of which Anakin and Padme's stolen, playful kiss when they are momentarily out of Obi-Wan's sight.

The episode doesn't skimp on action, though. The centerpiece is a classic chase sequence that plays like the Droid Factory-sequence in Attack of the Clones on overdrive. Obi-Wan faces Grievous and his henchmen in a clever duel that foreshadows their eventual meeting in Revenge of the Sith.

Moreover, Anakin's history gets a careful nod in one of the series's best moment. Padme notes, after watching Anakin dismantle some more disposable Battle Droids, that he's been playing with droids since they met. With an almost regretful tone, he notes that he "used to put them together, and now [he] only takes them apart." It's the perfect line for him: its vaguely funny, but it shows just how his life has changed...and not for the better.

Finally, the final image (shown at the top of this post) is, you may be surprised to know, the first tableau that features the main characters of the prequel trilogy in a heroic frame like this. In the original trilogy, the entire cast poses together at both the end of Star Wars and Return of the Jedi. The closest the prequels come to this moment was at the end of The Phantom Menace, although that tableau is missing C-3PO. Now, the TV series offers us something we don't know we missed.

If there's anything that keeps this episode from perfection, its that much of the material stands firmly on the shoulders of pre-existing plot points and devices. We'll see if the series can claim its own ground in the Star Wars canon. In the meantime, episodes like these will more than suffice.

Rating (out of five): ****1/2