![]() You get the impression that under Chow and the likes of Mandalorian director Bryce Dallas Howard, Star Wars will continue to shine for many years to come. Having trudged through the so-so Book of Boba Fett and a Marvel Cinematic Universe that tries to hide its considerable budget on the small screen with tired composition, it’s reassuring to know that Chow is a constant presence, skilfully weaving her magic into every scene. It’s no stretch to suggest that every shot in the premiere is either visually interesting or bolsters the story or dialogue in some way. It helps, too, that each slow step in Obi-Wan’s reawakening is ably aided by director Deborah Chow. For a show that’s felt purposefully rough and ready so far, Bail heading straight to Obi-Wan so quickly is a little too clean but, when it delivers a moment such as the old gunslinger Obi-Wan digging up his lightsaber and getting back on the saddle, it’s hard to complain too much. Bail Organa – boy, is it good to see Jimmy Smits – heads to Tatooine in one last plea to help save his daughter. By the time Leia is kidnapped by a gang of mercenaries backed by Reva, the two plot threads intermingle without too much trouble. Despite Alderaan’s prequel-era aesthetic raising a few shivers, that’s not the case. Obi-Wan Kenobi’s slower pacing feels more in tune with a singular vision, and any wandering eye could prove fatal to the show’s intentions. You could be forgiven for thinking it’s with Leia where the cracks start to emerge. Actor Vivien Lyra Blair carries plenty of Carrie Fisher’s spirit and – accompanied by droid Lola – finds herself getting up to mischief, even delivering one of the episode’s best moments with a withering putdown of her snooty ‘cousin’ from an arriving delegation. ![]() ![]() A 10-year-old Leia’s appearance is a surprise, to be sure, but a welcome one. The episode then veers off-planet and heads to Alderaan. ![]()
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