|THE CLONE WARSCLONE WARSSTAR WARSTRAILER|
The penultimate episode of the penultimate arc of Star Wars: The Clone Wars seemed like a small story, documenting the struggle of the Martez sisters and Ahsoka Tano to escape the Pyke Syndicate, but it opened up into a whole new world of Star Wars. It added context to stories we’d thought had been completed, added characters from Star Wars Rebels into the mix, and ties directly into the struggles of Mandalore. Let’s dive deeper into “Dangerous Debt”.The Hunt For Ziro
Trapped in a Pyke Syndicate cell in the captivity of the great Marg Krim, Ahsoka and Rafa Martez argue about the right course of action and where to lay the blame for their situation. As they fight, Rafa reveals why she and her sister stay away from topsiders, stick to each other, and generally distrust the Jedi. Then, she tells a tale that fits neatly between previously seen episodes of The Clone Wars. Rafa talks about Ziro the Hutt’s prison break, led by Cad Bane. We saw most of this in the season one finale of The Clone Wars, “Hostage Crisis.” That episode ends with Cad Bane leaving with Ziro the Hutt in speeders into Coruscant after holding a number of Senators, including Padmé Amidala, hostage.
Rafa’s story takes it a step beyond what we saw. The Martez family is impacted specifically by a bounty hunter that perfectly matches the description of Cad Bane. Her parents were killed when Bane shot a transport to create a distraction for his getaway with Ziro. The distraction worked and Bane and Ziro got away.
After the incident1, a green-skinned Jedi came to comfort the Martez sisters with a tone-deaf response. It seems as though this Jedi was likely Luminara Unduli, the master of Barris Offee, the padawan who framed Ahsoka for murder. Ahsoka offers a strong, heartfelt apology, realizing just how wrong the Jedi she left behind might have been.
It was a touching moment in the episode and a fascinating look at how Ahsoka views her experience.The Mandalorians
A delightful surprise in this episode was the inclusion of a trio of Mandalorians. Who were these mysterious warriors? We have the identities of two of them. The first is Bo Katan Katee Sackhoff who would eventually take possession of the Darksaber and become the leader of Mandalore in the final season of Star Wars Rebels. She mentions her interaction with Ahsoka on Carlac, which were events that occurred in the fourteenth episode of the fourth season of The Clone Wars, “A Friend in Need.” In that episode, Ahsoka saw herself up against Death Watch and Bo Katan was there as part of their cadre. Bo Katan left that organization after Maul killed her leader, Pre Vizsla voice by Jon Favreau, and her sister, the Duchess Satine. Katan ended up helping Obi-Wan Kenobi weather the conflict and didn’t otherwise appear again on the timeline until Star Wars Rebels....
There’s one particularly telling and effective moment in The Skywalker Legacy, the feature-lenght documentary that’s included on the Star Wars: The Rise of Skywalker home release that sums up much of the ambivalence and consternation that some had with J.J. Abrams’ return to the Star Wars universe. After showing the intricate construction of a giant, practical snake monster, the doc cuts back to footage of Jabba The Hutt, that old analogue beast that slithered its way into our hearts. The sentiment is clear – we’re making movies like we used to! A celebration of practical effects, the dripping of k-y jelly to give viscosity just like the old costume days, it’s all there. There’s excitement on set, everyone talking about how amazing it looks, how lifelike, how this is how you’re supposed to do movies like this.
Cut to Visual Effects Supervisor Roger Guyett who shatters the myth, letting us know the creature was replaced by a CGI version in post.
Guyett’s resume is mighty. Having made his bones on groundbreaking films like Twister and Casper, he helped Spielberg bring the events of D-Day to screen in Saving Private Ryan, helped bring to life the best looking film in the Harry Potter series, Alfonso Cuarón’s Prisoner of Azkaban, and even made the theatrical version of Rent feel more than a stage production. Guyett has had many collaborations with Abrams – from the Star Trek Reboots through The Force Awakens and The Rise of Skywalker he was even second unit director on the former, as well as working with George Lucas on Episode III to round off the prequels. He’s in a unique position to speak to these changing landscapes of epic filmmaking.
We spoke at length about the apparent contradictions and indulgences in making a Star Wars film, and he made the case for why nothing was wasted and all contributed to the final presentation. He was erudite and open to the discussion, making for a dream conversation with a man who quite literally has helped shape what amazes us on screen for decades.
The following has been edited for clarity and concision.
We see practical effects being championed as almost a marketing ploy with the “postquels” as a mix of nostalgia and an attempt to delineate from Lucas’ second trilogy. In some ways the love of the practically-realized snake undercuts the extraordinary CGI you and your team accomplished, and raises questions about why the need to fetishize the on-set inclusions when they’re replaced anyway. Could you talk about that ethos, that somehow doing stuff on a computer is a “cheat” while doing an effect practically is not?
I think at the end of the day we’re all trying to do the best that we can, trying to make the best, most dramatic or emotional movie we can visually. I’m coming from figuring out how do you get the most...
Although “The L Word: Generation Q” may have tried desperately to speak to a “new generation” of queer women and non-binary folks, fresher creative voices quickly rose to the top in its place. Though people still watched. Showtime’s “Work in Progress” was the best queer comedy of the year, Netflix’s “Feel Good” was an unexpected delight, and “Vida” is returning just in time for queer audiences to catch up on the best show about queer women of color on TV. Yet another contender released a promising first trailer today: “Betty” is a stylish and youthful portrait of Brooklyn teen skaters that already appears extremely queer.
The six-part half-hour arrives on HBO from filmmaker Crystal Moselle, who quickly made waves in 2015 with her her riveting documentary hybrid “The Wolfpack.” “Betty” is adapted from her second feature, the similarly hybridized “Skate Kitchen,” which followed a group of teenage girl skaters in New York City. The film premiered at the 2018 Sundance Film Festival to positive reviews and was released by Magnolia Pictures that year.
In his B+ review of “Skate Kitchen” out of Sundance, IndieWire’s Eric Kohn wrote: “The streetwise alternative to ‘Girls,’ the movie weaves together such a complete vision of its subjects that the rest of the world barely exists. Of course, there's a long-standing precedent to capturing this subculture — ‘Kids’ did it, with more adventurous storytelling twists, more than 20 years ago — but Moselle's subjects hold their own with the surprising ability to clarify their emotions through the cathartic process of hanging out.”
“Betty” features many of the film’s original stars, most of whom had not acted before, including Kabrina Adams, Dede Lovelace, Nina Moran, Rachelle Vinberg, and Ajani Russell. All accomplished skaters in their own right, the first trailer shows the charismatic crew navigating various crushes and friendship trials with compelling panache and humor.
“Betty” is directed, co-written, and executive produced by Moselle. Lesley Arfin and Patricia Breen are also co-writers. Arfin, who also EPs, is a comedy writer best known for co-creating the Netflix series “Love” with Judd Apatow and Paul Rust.
HBO will release “Betty” beginning May 1 at 11 pm ET. Check out the exciting first trailer below: