‘Ahsoka’ Episode Four Review – The Series Hits Hyperspeed

The best episode of Star Wars television since the first season of the Mandalorian just released in the form of Ahsoka’s fourth episode. The first three are a solid, triple introduction of sorts to the series, serving scarce action in between many (much needed) somber conversations and character introductions and reintroductions. But with the fourth episode, Filoni’s pen caught fire; everything is turned up to eleven.

The dialogue is constantly quote-worthy, with new characters quickly defining themselves with memorable lines and returners simply adding more to their repertoire. Exchanges between Ahsoka and Sabine are classic master/padawan mental matches as Sabine battles a new life she’s yet to accept, whilst Ahsoka quite clearly still can’t outrun Anakin, even in his death. On the opposite end of the spectrum, Baylan and Shin are much less connected, communicating on glances and working on a string. The tension in both dynamics is palpable, and each make full use of their extensive screen time.

This episode fast tracks the conflicts that result from those situations and explodes into what is essentially a mid-season finale. Through visions of clashing sabers in a whopping three lightsaber fights, our pre-villains in Skoll and Shin (as in underlings to Thrawn) take huge jumps on the page in addition to the action, while Sabine does most of her growing silently on screen. With director Peter Ramsey’s calculated visual symbolism and Natasha Liu Bordizzo’s subtly acute performance, she’s bound to stupefy fans and new watchers alike in her best turn yet, in all aspects.

Mary Elizabeth Winstead’s Hera is also an episode highlight, even considering her scarce timeshare in the episode. Her travels with her son Jason and everyone’s favorite war criminal droid Chopper are a suited distraction to the installment’s insanity, though if it were up to Hera, she’d be right in the mix with the rest of the gang. One of the great strengths of this series continues to be its faithfulness to the systems and structures of Rebels, operating as a live-action sequel to the series under the namesake of the fan-favorite character. It makes sense to call this show Ahsoka, and yes, Rosario Dawson is a stunning lead, but as it progresses it is clear that Dave Filoni simply wasn’t done with the Rebels and found a way to streamline their stories into the mainstream.

Even in absence of his direction, Filoni’s familiarity with this universe and these characters is incredibly special. There are many talented writers out there, but nobody gets Star Wars, and especially the Rebels, like Dave Filoni. His slow start to the series is proving purposeful, and is paying off in terrific fashion.

Having different faces in the director’s chair is allowing for a great variety in the show’s feel, too. Ramsey’s experience with animated projects (Rise of the Guardians, Spider-Man: Into the Spider-Verse) translates as well to this quasi-Rebels adaptation as Filoni’s had in the first two episodes, if not better. He maintains the still, patient nature of the show thus far, though occasionally interrupts it with stark meaning in slow movements. His lightsaber duels mark the series’ most exhilarating action thus far, and will likely have many making note of his ability to direct in live-action.

Take all of this and consider the culmination of this episode, one that is not only shocking but advances Star Wars as a creative property for the first time in a long time, and you’ve undoubtedly got a turning point from all angles. Episode four is Ahsoka’s best yet, and should leave fans sure that the future of the series, and Star Wars as a whole, is in really good hands.

Ahsoka is now available to stream on Disney+ with new episodes debuting every Tuesday.