Hyperspace Theories

A Star Wars movie is back in theaters for the first time since 2019! In this episode of Hyperspace Theories, Tricia Barr and B.J. Priester kick off our analysis of The Mandalorian and Grogu with a discussion of the major storytelling decisions underlying the film, which is directed by Jon Favreau and co-written by Favreau, Dave Filoni, and Noah Kloor (The Book of Boba Fett). As the sixth movie of the Disney era and the first Star Wars film built upon source material from outside the preceding movies – specifically the three seasons of the Disney+ streaming series The Mandalorian as well as adjacent series The Book of Boba Fett and Ahsoka – the creation of The Mandalorian and Grogu faced a number of challenges not previously faced by theatrical Star Wars, including an imperative to produce the movie on a considerably smaller budget than the Sequel Trilogy releases while reviving fan and customer enthusiasm for Star Wars on the big screen and the ancillary merchandise revenue that has long accompanied Star Wars films. This context in the state of the franchise explains a number of key decisions about the story built for The Mandalorian and Grogu, including the desire to acknowledge the full range of previous Star Wars stories and fans, from the Original Trilogy and Expanded Universe to the Prequels, The Clone Wars, and Disney-era films, animation, and publishing. We also examine the themes found at the heart of the story, and the non-Star Wars cinematic influences on Favreau's movie. We then revisit a frequent aspect of the Hyperspace Theories podcast: examining how Star Wars' longstanding association with the monomyth story structure shapes the tale being told in The Mandalorian and Grogu. Unsurprisingly, as a standalone film rather than a segment within a trilogy, The Mandalorian and Grogu readily aligns with the cinematic story structure expressed by Christopher Vogler, a distillation and updating of the classical monomyth found in the work of Joseph Campbell. This plot structure also guides the character arcs for The Mandalorian and Grogu, which features the two titular characters as well as significant character development for a third: Rotta the Hutt, who faces his own father-son thematic turmoil as well as pivotal choices about his path in life and the future he seeks for himself in the galaxy far far away. Related Links: Fangirls Going Rogue: A Special Look at The Mandalorian and Grogu (April) Fangirls Going Rogue: Episode 26.4 Countdown to The Mandalorian and Grogu (April) Fangirls Going Rogue: Interview with The Mandalorian and Grogu's Jon Favreau and Dave Filoni (May) Fangirls Going Rogue: Doug Chiang, John Knoll, and Ludwig Göransson Discuss Making The Mandalorian and Grogu (May) Fangirls Going Rogue: Episode 26.6 The Mandalorian and Grogu Behind-the-Scenes and Review (May) Social Media: Tricia Barr (@fangirlcantina) Instagram | Threads | Blue Sky B.J. Priester (@redpenoflex) Instagram | Threads | Blue Sky Fangirl Zone on Facebook

Ahoy, mateys! Pirates, pirate ships, and a search for lost treasure have returned to Star Wars – and so has the familiar story structure, complete with a boring home planet (A New Hope) and ten-year-old (The Phantom Menace) protagonists flung into a very unexpected adventure in the wider galaxy. On this episode of Hyperspace Theories, Tricia Barr and B.J. Priester examine the first four episodes of Skeleton Crew to unpack the story structure, character arcs, and themes unfolding in the first half of the new Disney+ streaming series. Although the story structure of Skeleton Crew draws from the monomyth that undergirds much of Star Wars, the series also draws inspiration from other 1980s films that followed a similar pattern with younger protagonists, including The Goonies and E.T.: The Extra-Terrestrial. Initially the schoolchildren simply want to get back home right away, but soon find themselves jumping repeatedly through hyperspace from one destination to the next. The four kid leads – Wim, Fern, Neel, and KB – have clearly drawn personalities and motivations, seemingly inspired by the varying common experiences of Gen-X youths in the '80s, such as the latchkey kid fending for himself, the academically demanding mother, single-parent families and two-parent households, and only children or larger families. Their adult ally and guide, Jod Na Nawood (if that is even his real name …), presents his own puzzle of goals and dreams as he helps the kids chart their journey back to At Attin, while further reinforcing connections with more piratical source material like Treasure Island. We also discuss the world-building developed in Skeleton Crew through four episodes. Much remains mysterious about At Attin, the Jewels of the Old Republic, the Great Work and the Supervisor, and the connection between the children's homeworld and SM-33's long-buried pirate ship and long-lost captain. Drawing upon the pirate fiction and real-world pirate history, we speculate about how these questions might be answered in the latter half of the series. Related Links: Fangirls Going Rogue: SKELETON CREW Showrunner Interview Fangirls Going Rogue Interviews Cast of SKELETON CREW Fangirls Going Rogue: SKELETON CREW Mysteries!

In this podcast episode, Tricia Barr and B.J. Priester consider the recently released MCU Disney+ series Agatha All Along from the perspective of long-running themes at FANgirl Blog and Hyperspace Theories: the influence of myth and heroic journeys on contemporary storytelling and how contemporary storytelling is evolving those ideas, especially in stories told by women and other creators from diverse and marginalized backgrounds. The story structure of Agatha All Along itself is built around the idea of an evolving myth, the "Ballad of the Witches' Road" song, which appears in multiple iterations over the course of the series. We then discuss the character arcs of Agatha Harkness and Billy Maximoff through the frame of the Maiden Mother Crone triptych that is central to the series, and to longstanding lore about witches and other female archetypes. We also examine how Agatha All Along draws upon familiar elements of storytelling frameworks like the Hero's Journey and Heroine's Journey while also breaking from tropes and expectations in telling the tale of a centuries-old witch and a twenty-first century American teenager. Related Links: 'Agatha All Along' Boss Jac Schaeffer Talks Episode Four's Reveal and Mephisto: "That Is Larger Than Me and This Show" (The Hollywood Reporter; Oct. 7, 2024) 'Agatha All Along' Showrunner Teases 'Lots More' Coming for Agatha and Rio – and Whether We Should Trust That Reveal About Teen (The Wrap; Oct. 7, 2024) 'Agatha All Along' Showrunner Unpacks Episode 5: Wiccan, Agatha's Mom and the Shorter Runtime (The Wrap; Oct. 14, 2024) Billy Maximoff Returns: Joe Locke and 'Agatha All Along' Creator on Hiding His Identity, 'Wacky' Fan Theories and Bringing Back [SPOILER] From 'WandaVision' (Variety; Oct. 18, 2024) 'Agatha All Along' Showrunner Talks Billy's Backstory, Evan Peters' MCU Return & What's To Come On The Witches Road (Deadline; Oct. 18, 2024) 'Agatha All Along' Showrunner Talks Episode 6: Billy's Backstory, Agatha's Secret and That Cameo (The Wrap; Oct. 18, 2024) 'Agatha All Along' Creator on Directing Patti LuPone's Mind-Bending Episode, Revealing [SPOILER]'s True Identity and Who Is Really Dead (Variety; Oct. 25, 2024) 'Agatha All Along' Showrunner Unpacks Lilia's Trial, Rio's Reveal And More Ahead Of Final Two Episodes (Deadline; Oct. 25, 2024) 'Agatha All Along' Showrunner Unpacks Time-Tripping Episode 7: Patti LuPone on Wires, Wanda and That Death Reveal (The Wrap; Oct. 25, 2024) 'Agatha All Along' Showrunner Jac Schaeffer On Sticking The Landing With Final Episodes & What's To Come For Billy (Deadline; Nov. 1, 2024) 'Agatha All Along' Creator Explains Shocking Finale Twists, Agatha and Rio's Backstory, Nicholas Scratch's Father and Why There's No Post-Credits Scene (Variety; Nov. 1, 2024) Agatha All Along creator clarifies the Tommy moment and where the Road goes from here (EW; Nov. 1, 2024) After That Shocking 'Agatha All Along' Finale Twist, Sasheer Zamata Discusses Jen's Reaction and Her Potential MCU Future (Collider; Nov. 1, 2024) Agatha's Fate Was Decided From the Beginning in 'Agatha All Along' (Collider; Nov. 1, 2024) 'Agatha All Along's Showrunner Breaks Down the Finale's Reveals and Twists (Collider; Nov. 1, 2024) Agatha Is Not "The Hero of Her Own Story," Says Creator (Collider; Nov. 2, 2024) 'Agatha All Along' Boss Jac Schaeffer on Forgoing Wanda in Finale: "It Didn't Feel Fair to Agatha" (The Hollywood Reporter; Nov. 4, 2024) "I will die on that hill": Jac Schaeffer Will Never Accept One 'Agatha All Along' Criticism Even After Revelation That Billy Maximoff Opened the Road (FandomWire; Nov. 6, 2024)

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, producer Nina Jacobson highlighted 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 Journey of a Strong Female Heroine: Katniss Everdeen (March 2012) Team Katniss: Collaborative Success in The Hunger Games (March 2012) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.

Before turning to the currently releasing third season of Star Wars: The Bad Batch, Hyperspace Theories podcast returns to the concluding episodes of Season Two. Having previously analyzed the first ten episodes, Tricia Barr and B.J. Priester discuss episodes 11 through 16, starting with "Metamorphosis" and "The Outpost" and ending with Tech's (apparent) self-sacrifice by implementing the tragic "Plan 99" during the squad's fateful mission to Tarkin's base on Eriadu. On the theme of metamorphosis and transformation, we consider the introduction of Doctor Hemlock as the Batch's new primary antagonist, the significance of Crosshair's realization that the clones are expendable to the Empire, how the Batch's experience on Pabu provides a new perspective for their understanding of their place in a changing galaxy, and the increasing stakes for the Bad Batch and all of the clones as the threat posed by Hemlock becomes clearer. We also examine the visual symbolism throughout these episodes, particularly the significance of water and Crosshair's ice vulture, as well as the themes presented in the sometimes conflicting motivations of the Bad Batch, Rex and Echo, Saw Gerrera, and within the Empire itself. Related Links: Hyperspace Theories: The Separatists in The Bad Batch (Jan. 2023) Hyperspace Theories: Story Structure and Character Development in The Bad Batch Season Two (Feb. 2023) Hyperspace Theories: Facing Ordeals in The Bad Batch (Feb. 2023)

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: Metaphors of Mortis (Feb. 10, 2011) Hyperspace Theories: Masters, Apprentices, and Witches in AHSOKA Premiere (Aug. 26) Hyperspace Theories: Anakin and Ahsoka Reunite (Sort Of) in AHSOKA's Belly of the Whale (Oct. 8) Hyperspace Theories: AHSOKA Tackles the Jedi, the Force, and the Future of Star Wars (Oct. 16) Now Filoni is the Master (Nov. 24) Adam Driver Confirms The Rise of Skywalker Changed Kylo Ren's Character Arc (Dec. 14)

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 press release 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: "AHSOKA" to receive the Seal of Female Empowerment in Entertainment (SOFEE) (Critic's Choice Association; Sep. 24, 2023) Contact Information: Hyperspace Theories: Twitter @HyperspacePod Tricia Barr: Twitter @FANgirlcantina; email Tricia@fangirlblog.com B.J. Priester: Twitter @RedPenofLex; email Lex@fangirlblog.com 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.

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 previous episode 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 Episode 23.7: Best of Star Wars Celebration Europe Fangirls Going Rogue Priority Transmission #27: Star Wars Visions Volume 2 Press Conference Skywalking Through Neverland Episode 415: Star Wars Celebration Europe 2023 Recap Star Wars Celebration Europe 2023: Disney Parks (FANgirl Blog) Star Wars Celebration Europe 2023: Young Jedi Adventures (FANgirl Blog) Star Wars Celebration Europe 2023: The Bad Batch (FANgirl Blog) Star Wars Celebration Europe 2023: Star Wars Visions Volume 2 (FANgirl Blog) Star Wars Celebration Europe 2023: The Women of Ahsoka (FANgirl Blog)