Editor’s Note: The following contains spoilers for Episode 5 of Ahsoka.
After four episodeshampered by empty nostalgia and stilted dialogue, Episode 5 ofAhsokafinally hits a mark. Not a perfect mark, mind, but one less addled by cogitative dissonance than the season’s first half.Dave Filoni’s goals — story-wise and stylistic — still feel hastily assembled in “Shadow Warrior,” and what’s assembled remains as muddled asthe drearily lit battle scenes.Ahsokahas consistently relied on nostalgic imagery over the quality character writing Filoni displayed throughoutStar Wars: The Clone WarsandStar Wars Rebelsthat made both series so acclaimed. For all of Filoni’s confusing choices, especially given his stewardship ofa protagonist celebrating her fifteenth anniversary this year, what “Shadow Warrior” offers in tandem are invigorating glimpses of how phenomenal this series might have been with significant tweaks.
The main adjustment? Centering its title character. It’s a devastatingly simple change, but it’s likewise been no secret that the great Ahsoka Tano (Rosario Dawson) has felt sidelined in her own story; a conundrum that, in turn, bequeaths uponAhsokathe series an identity crisis. Episode 5’s undeniable focus on Ahsoka (her history, her conflicts, and her heart) lifts the tale to its best facsimile of imaginative greatness to date — which also makesAhsoka’s untapped potential even more tiresome.
Ahsoka Tano Hasn’t Been the Star of Her Series So Far
In theory, a live-actionStar Wars:Rebelssequel should’ve been easy. Jumping mediums is no cakewalk, but Dave Filoni concluded his second animated series with an undeniably clear template. Sabine Wren (Natasha Liu Bordizzo)vowed to find the vanished Ezra Bridger(Eman Esfandi), and Ahsoka’s involvement made sense given her relationship with Ezra. Rosario Dawson’s debut as Ahsoka Tano in Season 2 ofThe Mandalorianwas a backdoor pilot that secured a full series named after Dawson’s Tano, which automatically suggests a focused, different individualism than, say,Rebels Part II.
Instead, Filoni’s efforts to split the seriesbetweenRebels' disparate story threads and Ahsoka’s characterdidn’t strike a coherent balance. TheRebelscast deserve the wider platform afforded by live-action as much as Ahsoka does, but their escapades claimed most of the previous episodes' screen time — time that’s precious given Filoni’s penchant for shorter episodes.Tackling too much at once leftAhsokawith scattered themes and characters stuck in discordant states, simplistic scenarios, and exposing expository dialogue. As of Episode 5,Ahsoka Tano had inexplicably operated as a passenger in her own series. Narrative clarity? Character agency?Rebels' strong suits had vanished alongside Ezra and Grand Admiral Thrawn. “Shadow Warrior” adjusts its priorities in accordance with the series' title and thrives for it. (The longer runtime doesn’t hurt.)
‘Shadow Warrior’ Finally Focuses on Ahsoka as a Character
Unequivocally, the reason “Shadow Warrior” succeeds by any measure is because Ahsoka steps into the role of true protagonist, both titled and spotlighted.Hayden Christensen’s return as Anakin Skywalkermight be another instance of Filoni relying on nostalgic set pieces over meaty character work. Still,her Master’s presence in the World Between Worldsprovides a natural outlet to examine how Ahsoka’s past informs her worldview and her current choices. As discerningly pointed out by Collider’s own Maggie Lovitt in her review,“Shadow Warrior” doesn’t present anything revolutionary. How many times must lightsabers going “brr” take precedence over telling conversations? In that vein, one might call Episode 5’s offerings “crumbs.”
Nevertheless, it’s here the flashes of greatness appear. It’s inthe scars the Clone Wars left on Ahsoka as an impressionable child; it’s through Ahsoka’s habitual decision to be a warrior who defends and protects instead of an obedient soldier subject to the Republic’s blithe whims. In “Shadow Warrior,” Ahsoka remembers who she’s always been — a woman outside the Order yet reverent to its founding principles of justice, peace, empathy, and light. She’s a survivor not just in practice but in soul. For a solid 30 minutes, there’s no question whoAhsoka’s real protagonist is. This emotional journey is distinctly hers alone.
Chipping past the “look, it’s a loth-cat!” distractions to explore the skeleton keys responsible for making Ahsoka who she is rather thancoasting along on established fans' knowledge of the pastis the desperately vital adrenalineAhsokaneeded since day one. It’s especially crucial given how Ahsoka Tano has existed at an unnatural remove sinceThe Mandalorian. It’s fair game to speculate that her withdrawn state stems from her reckoning with Darth Vader inRebels. Answering such pressing questions in defined terms (and posing new ones) should be this series' narrative structure and thesis, not a blip on its episodic radar.
So with such a rich tapestry, why did the premiere spend five minutes onAhsoka figuring out a Force puzzle? Why is the Thrawn-as-MacGuffin plot devouring entire episodes when her heroine’s journey could propel the series forward in equal measure? And why didn’t Episode 5 provide a clear explanation for Ahsoka’s personality shift betweenRebelsandThe Mandalorian? The dramatic heights of Ahsoka’s spiritual restoration in Episode 5 and her resulting joy are the thematic foundations her story deserves — just magnified tenfold. Imagine how enriching the series would be if it fully embraced Ahsoka’s tenacious legacy in all its permutations and possibilities: her doubts, her convictions, her emotional wounds, and her reasons for being, both old and new.
RELATED:‘Ahsoka’ Episode 5 Easter Eggs
Spotlighting Ahsoka Makes a Flawed Series Stronger
If Anakin’s appearance unlocks the chains restraining Ahsoka’s emotional clarity, so does “Shadow Warrior” finally allow Rosario Dawson to embrace her leading lady role with multifaceted open arms. She and Christensen do the heavy lifting with little dialogue and sublimely deft skill, meeting one another on the acting field as intuitively and fiercely as their characters' lightsabers clash. Any emotional impact propelling “Shadow Warrior” into the realm of true resonance falls to their remarkable performances. Their chemistry is instant and warmly familiar. Dawson’s undaunted body language shines through fight choreography that’s often felt uninspired, and Ahsoka’s ancient but metaphorized anger crackles across her face like a banked fire.
More importantly, Filoni’s direction lets Dawson embodyher inherited character’s quintessential warmth, empathy, and wit. This smiling Ahsoka is confident in her steps. When she connects with the purrgil through the Force, her radiant peace speaks to that matured yet easy buoyancy that fans adore. At long last, an Ahsoka Tano that’s as winsomely expressive as she should be!
Saying that Episode 5’s strengths are flourishes of improvement applied to a prosaic canvas reads like damning with faint praise. Indeed, “Shadow Warrior” occupies a tenuous spot that’s neither entirely glorious nor fully glum. It’s almost a World Between Worlds portal: a metaphorical Wayback Machine where Dave Filoni didn’t try to have it both ways and instead strengthened, and therefore clarified, his series. Whether Episode 5 marks a narrative turning point away from his live-action trends remains to be seen. Either way, “Shadow Warrior” distillsAhsoka’s potential into a 30-minute bottle. It’s not everything, but it’ssomething: a celebration, a causation, and a sadly unexplored “what if.”
