You still have all you need though at this point.

FWIW, I don’t think we need to believe (that Sabine thinks) that Ahsoka’s dead, it’s just that Sabine goes from being in a situation where she’s helping in a more or less fair fight to one where she’s trapped. Felt a bit weird to have Sabine surrendering the map presented as such a free choice when the realistic…

It’s not even the constancy, it’s just the problem with Jedis/lightsabers in and of themselves—all-powerful in enough circumstances that when you need to present a situation like ‘Ahsoka can’t get to <x> in time’, the least contrived way to do it is stick another person with a lightsaber in front of her. And at that…

It’s not that it’s hard to follow, it’s that all of the emotional weight of the show happens outside of/before it. The search for Ezra in Ahsoka is basically the same as the search for Luke at the beginning of TLJ, but even if you’ve never seen anything before TFA, you’ve got a pretty basic idea of who Luke is and why…

I’m hoping she comes out of the WBW with Anakin’s glove, myself.

They can’t destroy the transmission machine for the same reason they can’t destroy the map—the episode needs to end with Sabine on the other side of the jump and Ahsoka only able to follow via extraordinary means. Just feels like they could’ve gotten to that point without having Ahsoka need to step on so many rakes.

when craigory shoots a nail from a nail gun through a snakes head and into the palm of his hand.

Louis the 5'10", perhaps?

E.B. was John Lithgow’s character last season, but I’m not sure what the reference was in this episode.

FWIW, I think this episode’s plotting is incredibly full of holes if you really want to tug at threads, but Atlantic City’s marinas are all in the same spot, so if you can accept that Charlie’s dad’s old boat was still at the marina, her not being far from Cliff is a much easier leap.

I haven’t seen Bamber in anything else, but I think as far as this show goes, the bigger problem’s with Elora as a character. The show spends so much time on what Elora means to other characters or circumstances, and almost none on what it means to her, or what she wants (or has ever wanted) aside from Airk.

An issue I’m having with this series (and why I think it can’t really be compared to other reboots) is that Willow was set in basically Generic Fantasyland, where what little we knew about the world was based on Willow’s own limited experience/perspective.

Well, a pivotal difference between this and Andor is that when Luthen gets a piece of intel that will burn his highly-placed source, he doesn’t use it.

Nothing says they’re not both there, just uncredited. Give it time.

The spell never happened. I suppose it’s a question of whether there’s a real spell that Willow never cast or if Fibonacci Hex was simply the name given to a thing that wasn’t understood, and beyond that if Graydon even remembered the name he’d learned correctly.

This show is so oddly structured. I’m glad everything’s pulling together, but we’re two thirds of the way through the season and we’ve spent so little time meeting the new members of Slow House that I genuinely thought that when Marcus grabbed Louisa, he wasn’t there to help (even if not in the way Louisa wanted help).

Does some basic/important things quite well and a lot of the casting has been great, but the source material’s totally unworkable, the showrunners aren’t really knocking it out of the park even on those terms, and it’ll probably be remembered more as the most expensive TV series in history than anything else.

Fair enough, I’ve never seen Rebels. It just feels weird to have her creating a loose end in such an unforced way, but I’m not sure how else we’re supposed to read the scene.

So I’d say two things to this: the first is that slavery in this galaxy has been in lieu of other human labor. Nobody’s using gangs of coerced or enslaved workers in lieu of a crane in building construction, for instance, and for the Empire to use prison labor for such mechanically rudimentary work raises questions…

I didn’t mind seeing the Death Star mid-construction--it’s pretty basic foreshadowing if nothing else, but I think it works better if it’s not connected to Andor’s time in prison at all.