30 April 2025

Review Analysis of Andor Season 2, Episode 5 - "I have friends everywhere"

Andor has carved a distinctive niche in the sprawling Star Wars galaxy, offering a grounded perspective on the rise of the Rebellion. Eschewing mystical elements and grand battles, the series focuses instead on the gritty mechanics of espionage, political strategy, and the personal cost of resisting Imperial rule.

Episode 5 of Season 2, titled "I Have Friends Everywhere", is a turning point. 

Allegiances shift. 

Secrets tighten. 

The Empire’s grip is felt in every corner of the frame. 

And rebellion, still fragile, begins to take shape in sharper, more dangerous forms.

The action unfolds across multiple fronts. Cassian Andor arrives on Ghorman under a new cover: “Varian Skye,” a Coruscant fashion designer. The persona is sophisticated, slick, and reveals Cassian’s growing fluency in infiltration. His scenes with the Ghorman Front—especially the eager Enza Rylanz—show a different Cassian. 

More careful. 

More strategic. 

He warns against being too visible, advice clearly shaped by his hard-earned experience. Later, he delivers a code crystal to Rylanz, deepening his role in the resistance.

Syril Karn, meanwhile, is playing both sides. While engaging with the Ghorman Front, his real loyalty remains with the Empire. His paranoia spikes after an ISB sweep of his office, which he suspects was designed to plant surveillance. Whether that’s true or not doesn’t matter—what matters is how deeply embedded distrust has become. 

When Syril returns to Coruscant and receives praise from Dedra Meero and Major Partagaz, he calls it the greatest day of his life. It’s a chilling moment. He has fully given himself to the machine, regardless of the cost to others.

On Coruscant, Luthen Rael and Kleya Marki face trouble of their own. Kleya intercepts a transmission suggesting that Davo Sculdun, the eccentric art collector, suspects surveillance. He’s planning to have his collection re-certified after an upcoming gala—possibly exposing the listening device Luthen planted. Kleya, calm and precise, recommends extracting the device at the event. She’s less reactive than Luthen, more focused on preservation than provocation. That tension is subtle but real.

Trust is the knife-edge of the episode. Syril’s betrayal of the Ghorman Front cuts deep, and his duplicity warns us how dangerous the wrong alliance can be. Cassian, by contrast, moves with deliberate caution. His advice to Enza reveals an instinct honed by loss and survival. He’s not just infiltrating. He’s mentoring, in his own reluctant way.

Loyalty and ambition clash in Syril’s arc. He craves validation from a system that distrusts him, and he’s willing to burn bridges to earn a seat at its table. His moment of triumph with Dedra and Partagaz isn’t inspiring—it’s disturbing. For Syril, order matters more than justice.

The Ghorman Front’s idealism highlights the slow burn of rebellion. Their resistance is raw and enthusiastic. Cassian’s is careful and weary. Luthen and Kleya, operating on a broader scale, represent a more organized and tactical arm of the same cause. Each faction is necessary. But they don’t always see eye to eye.

Cassian continues evolving from lone survivor to key rebel asset. On Ghorman, he operates with calm professionalism and strategic restraint. He’s not a true believer yet, but the pull is growing stronger. Syril, on the other hand, spirals deeper into his obsessive pursuit of approval. The Empire manipulates him, and he lets it, all for the hope of mattering.

Review Analysis of Andor Season 2, Episode 5 - "I have friends everywhere"



Though not seen, Saw Gerrera’s presence is felt. His name hovers in conversations around Ghorman and the mysterious “Axis.” His past on Onderon and his involvement in the Clone Wars cast a long shadow. The episode reminds us that rebellion doesn’t just come in one flavor. Some are firebrands. Others, like Cassian or Kleya, fight in silence and shadows.

The dynamic between Luthen and Kleya shows signs of strain. Kleya’s measured response to Sculdun’s suspicions suggests a pragmatism that might eventually clash with Luthen’s more forceful instincts. There’s mutual respect. But pressure builds. And pressure changes people.

Like the prior episode, the “Tarkin Massacre,” continues to be canonized. It was previously known in Legends as the Ghorman Massacre. Grand Moff Tarkin’s infamous landing on a crowd of peaceful protestors becomes a historical anchor for Ghorman’s resistance. Cassian hears about it from his hotel bellhop, Thela, whose father died in the attack. It’s a brutal moment of human cost—one that deepens the show's emotional gravity.

Elsewhere, small lore touches pepper the episode. Radio signals mention Corellia and Ryloth. Cassian’s passphrase—“I have friends everywhere”—is echoed later in a discussion on trust, marking it as a signature of Luthen’s network.

Morlana One is referenced again, tying back to Season 1. Mentions of Grand Vizier Mas Amedda and the Rimma Trade Route anchor Ghorman in the wider galaxy.

Visual callbacks also reward long-time fans: podraces flicker on a screen, the Imperial Senate dome glows in the skyline, and black-accented X-wings—Saw’s calling card—buzz across a frame. Even Cassian’s fake ID voiceover comes from Sam Witwer, known for voicing Darth Maul. It’s subtle worldbuilding, but rich and deliberate.

Episode 5 builds directly on the foundations laid by the season’s first arc. Cassian and Bix tried to settle into life on Coruscant. Syril repositioned himself on Ghorman, quietly playing the long game. Luthen pushed harder, recruiting Cassian again in Episode 4, “Ever Been to Ghorman?” That mission sends him into play here. Syril’s backchannel to Dedra tightens. The board is being set.

I Have Friends Everywhere is another deliberately measured, absorbing entry in Andor’s portrait of rebellion’s earliest sparks. 

It doesn't lean on spectacle. 

It leans on tension. 

Character. 

Consequence...

By exploring betrayal, fragile trust, and the layered machinery of resistance, it sets the stage for the presumably explosive chapters still to come. The Empire is tightening its grip. But the cracks are spreading. And every whisper, every lie, every choice—matters.

Review Analysis of Andor Season 2, Episode 4 - "Ever Been to Ghorman?"

The Star Wars saga, often viewed as grand space opera, finds something sharper and more grounded in Andor. Here, spectacle gives way to surveillance. Ideals are tested against occupation. Season 2 continues to explore the early stages of rebellion, showing the human cost of resistance and the moral compromises it demands.

Episode 4, "Ever Been to Ghorman?", stands out. 

The title signals something specific—an invocation of Imperial dominance not as backdrop, but as pressure point. It's a quiet, charged episode that expands the show's political weight. And with Andor already praised for its narrative depth, this installment doesn’t disappoint—it deepens the season’s core themes and heightens the stakes.

The episode unfolds across multiple threads, each tightening the net between the Empire and the people beneath its boot. Ghorman sits at the center—a planet under occupation, choked by stormtroopers and constant surveillance. 

The imagery is stark. Fear clings to the streets. Meanwhile, Mon Mothma walks the thin line between duty and betrayal, smiling through Senate speeches while discreetly moving rebel funds. 

Her balancing act is brutal.

Luthen Rael keeps building the rebellion, one ethically murky recruitment at a time. Cassian hides in plain sight, working an anonymous job that masks his real mission: gathering intel, stockpiling tools. His purpose hasn’t faded—it’s just gone underground. Dedra Meero, ever methodical, continues connecting the dots, zeroing in on resistance cells with terrifying precision.

And then there’s Syril Karn—out of power but far from out of the picture. At first glance, he seems stuck. But the tension around him suggests otherwise.


Thematic Exploration

Ghorman becomes a study in control. The Empire doesn’t just rule—it rewrites. The stormtroopers on every corner, the constant eyes watching, the silence that lingers—it’s psychological warfare. But what hits hardest is the way the Empire targets identity itself. Culture becomes subversion. Tradition becomes rebellion. 

his isn’t just about domination. It’s about erasure.

Yet resistance simmers beneath the surface. Not open war—something quieter. The Ghormans resist through music, ritual, coded defiance. Their strength lies in what they refuse to forget. Mon Mothma and Luthen represent the other side of rebellion: finance and manipulation. One works in whispers. The other in calculated pushes. Even their support is a form of resistance, channeled through performance and pressure.

Identity remains central. For Cassian, for Mon, for the people of Ghorman—it’s about what you’re willing to protect. For Luthen and Dedra, it’s about what you’re willing to control. And for Syril, it’s about what you’re desperate to reclaim.

Luthen’s recruitment tactics blur the line between persuasion and manipulation. Dedra’s strategy is data-driven domination—erase dissent before it even knows it exists. 

And Syril? 

His story is one of internal distortion, warped by rejection, fueled by obsession.


The Ghorman Allegory: Not Subtle, But Intentional

The parallels aren’t accidental. "Ever Been to Ghorman?" clearly draws from the Nazi occupation of France. The stormtroopers, the checkpoints, the fear—all echo a very real, very documented period in history. Ghorman doesn’t just look like an occupied territory. It feels like one.

The Ghormans embody the spirit of the French Resistance. Their coded songs, their silent endurance, their refusal to let their culture be buried—these aren’t set dressing. They’re the narrative. Andor doesn’t mimic history for flair. 

It mirrors it to give weight. To make this fictional rebellion feel real.

The show’s not aiming for a perfect allegory. It's operating in a galaxy of hyperspace and empires. But the emotional resonance? That’s rooted in reality. The allegory sharpens the themes—of oppression, resistance, and survival—and forces the audience to bring their own knowledge into the fold.


Syril Karn: A would-be Double Agent?

Syril Karn isn’t chasing Cassian anymore. He’s being watched—and he knows it. The tension isn’t just internal now. 

It’s systemic. His life, once ruled by routine and failure, starts to tilt. The Ghorman resistance approaches him—not with force, but with invitation. T

hey ask him to listen. And he does.

But Dedra’s not blind. 

She sees what’s happening. She may have even let it happen. Syril’s in the middle of something bigger than himself now. The question isn’t whether he’ll be used—it’s who he’ll allow to use him. He’s not a pawn anymore. He’s a fuse waiting for a match.

He stands between two gravitational pulls. Ghorman offers purpose. Deedra offers control. What he chooses will say more about who he is than anything he’s done before. He can’t have both.

Everything in this episode stays tightly anchored in 3BBY—three years before the Battle of Yavin. That’s important. It grounds the show in the canon while giving space to explore rebellion before Rogue One. Every choice here ripples toward known history, but Andor keeps finding ways to make it feel new.

-

"Ever Been to Ghorman?" is a slow burn with sharp edges. It doesn’t rely on action. It trusts silence, fear, and suggestion. The episode turns occupation into something intimate and suffocating. It shows how resistance begins—not in battles, but in choices. In culture. In refusal.

Cassian collects scraps. Mon moves money. Luthen recruits. Dedra tightens the net. Syril hovers in-between, pulled by two sides that both see his potential. And Ghorman? Ghorman stands as the soul of the episode. Not just a setting, but a symbol. A reminder that sometimes, the most powerful rebellion is the one that refuses to vanish.

29 April 2025

George Lucas cameo in Revenge of the Sith? + Star Wars cameo appearances

There are several reasons why doing cameo appearances in Star Wars can be appealing for celebrities and other well-known figures:
  1. Nostalgia: Many people grew up watching Star Wars and have a deep love for the franchise. For celebrities who are fans themselves, being able to appear in a Star Wars movie or TV show can be a dream come true and a way to connect with their own childhood memories.
  2. Pop culture relevance: Star Wars is one of the most popular and recognizable franchises in pop culture history. By appearing in a Star Wars production, celebrities can gain exposure to a massive audience and become part of the larger cultural conversation.
  3. Fun and novelty: For some celebrities, appearing in a Star Wars production may simply be a fun and novel experience. The franchise is known for its unique and imaginative world-building, and being able to participate in that world, even for a brief moment, can be an exciting and enjoyable experience.
  4. Boosting their own image: Some celebrities may see appearing in a Star Wars production as a way to boost their own image or credibility. Being associated with such a beloved and iconic franchise can help them reach a wider audience and enhance their own reputation in the entertainment industry.
george lucas cameo revenge of the sith

Here's a list of some of the most famous cameo appearances in the Star Wars films in order of appearance:

  • George Lucas - Episode III: Revenge of the Sith (2005) - George Lucas is the creator of the Star Wars franchise and in Episode III, he makes a brief appearance as Baron Papanoida, a blue-skinned alien in the opera scene. The cameo is interesting as it is the first time Lucas appears in a Star Wars film and he plays an alien character, something that has become a trademark of the franchise. Lucas's appearance was designed to help complete what is known as 'Star Wars Rings Theory'
  • Daniel Craig - Episode VII: The Force Awakens (2015) - Daniel Craig is known for his roles in the James Bond series and in The Force Awakens, he plays a Stormtrooper known as JB-007. The cameo is interesting because it was kept a secret until after the film's release and Craig's voice is not heard, making it difficult for viewers to recognize him.
  • Warwick Davis - Episode VII: The Force Awakens (2015) - Warwick Davis is a well-known actor who played the Ewok Wicket in Return of the Jedi. In The Force Awakens, he plays Wollivan, a bar patron in Maz Kanata's castle. The cameo is interesting as it is a nod to Davis' role in the original trilogy and shows that he is still a part of the Star Wars universe.
  • James Earl Jones - Rogue One: A Star Wars Story (2016) - James Earl Jones is known for his iconic voice role as Darth Vader in the original trilogy. In Rogue One, he returns to voice Vader in a scene that takes place immediately before the events of A New Hope. The cameo is interesting as it shows the return of one of the most iconic characters in Star Wars history.
  • Princes William and Harry - Episode VIII: The Last Jedi (2017) - Prince William and Prince Harry are members of the British royal family. In The Last Jedi, they make a cameo as Stormtroopers in a scene with Finn. The cameo is interesting as it was kept a secret until after the film's release and it was a fun surprise for fans to see the princes in the film.
  • Justin Theroux - Episode VIII: The Last Jedi (2017) - Justin Theroux is known for his roles in films such as Mulholland Drive, The Leftovers, and American Psycho. In The Last Jedi, he plays Master Codebreaker, a suave and mysterious character who is hired by Finn and Rose. The cameo is interesting as it is a departure from Theroux's usual roles and adds to the mystery of the character.
  • Mark Hamill - Episode IX: The Rise of Skywalker (2019) - Mark Hamill is known for his role as Luke Skywalker in the original trilogy. In The Rise of Skywalker, he makes a brief appearance as a Force ghost. The cameo is interesting as it marks the return of one of the most beloved characters in Star Wars history.
  • Peter Jackson - Episode VII: The Force Awakens (2015) - Peter Jackson, known for directing The Lord of the Rings and The Hobbit trilogies, makes a cameo as a character named Slowen Lo in the Takodana cantina scene. We suspect this is an internet myth though!
  • Gareth Edwards - Episode VII: Rogue One: A Star Wars Story (2016) - Gareth Edwards, director of Rogue One, makes a cameo as a Rebel soldier during the Battle of Scarif.
  • Joseph Gordon-Levitt - Episode VIII: The Last Jedi (2017) - Joseph Gordon-Levitt, known for his roles in films like Inception and Looper, makes a cameo as Slowen Lo's voice in the Canto Bight casino scene. This is because he he a great working relationship with director Rian Johnson and has appeared in most of his movies in some form.
  • Tom Hardy - Episode VIII: The Last Jedi (2017) - Tom Hardy, known for his roles in films like Inception and The Dark Knight Rises, makes a cameo as a Stormtrooper who confronts Finn and tries to initiate a fist bump with him.
  • Justin Theroux - Episode IX: The Rise of Skywalker (2019) - Justin Theroux, who appeared in The Last Jedi, makes a second cameo in the final installment of the sequel trilogy as Colonel Aftab Ackbar, the son of Admiral Ackbar.
  • Ed Sheeran - Episode VII: The Rise of Skywalker (2019) - Ed Sheeran, a popular British singer-songwriter, makes a cameo as a Stormtrooper during the First Order's attack on Kijimi.
  • Kevin Smith - Episode VII: The Rise of Skywalker (2019) - Kevin Smith, a writer, director, and actor known for films like Clerks, Chasing Amy, and Mallrats, makes a cameo as a technician on the Resistance base.
  • Lin-Manuel Miranda - Episode VII: The Rise of Skywalker (2019) - Lin-Manuel Miranda, creator of the musical Hamilton, makes a cameo as a Resistance fighter on the planet Exegol.
  • John Williams - Episode IX: The Rise of Skywalker (2019) - John Williams, the composer who created the iconic Star Wars score, makes a cameo as Oma Tres, a bartender on the planet Kijimi.
  • Ewan McGregor - Episode VII: The Force Awakens (2015) - Ewan McGregor, who played Obi-Wan Kenobi in the prequel trilogy, makes a voice cameo as the Jedi Master who speaks to Rey during her vision on Takodana.
These are just a few of the most famous cameo appearances in the Star Wars films, but there are many more throughout the franchise (did you spot Ralph McQuarrie in The Empire Strikes Back?). Each of these cameos adds a unique element to the films and shows how beloved the Star Wars universe is by both fans and celebrities alike.

Review > Star Wars: Revenge of the Sith Novelization by Matthew Stover

Matthew Stover's novelization of "Star Wars: Revenge of the Sith" is a literary achievement that transcends the boundaries of typical movie-to-book adaptations. It's not merely a retelling of George Lucas's cinematic vision but an expansion that delves into the emotional and psychological complexities of its characters.

This review aims to explore the depth and breadth of Stover's work, examining its narrative structure, character development, thematic richness, and stylistic choices.

The era of the Republic's twilight and the rise of the Galactic Empire is a period rich with lore. The Clone Wars, a galaxy-spanning conflict orchestrated by the Sith Lord Darth Sidious (secretly Supreme Chancellor Palpatine), served as the catalyst for the Jedi Order's downfall and the Republic's transformation. 
This conflict, explored in detail within the novelization, saw the Republic's clone army, initially intended to preserve democracy, become instruments of its destruction. The Jedi Knights, once peacekeepers of the galaxy, found themselves thrust into the role of generals, a position that blurred their spiritual focus and made them vulnerable to Palpatine's manipulations. This era also saw the burgeoning relationship between Anakin Skywalker, the "Chosen One" prophesied to bring balance to the Force, and Obi-Wan Kenobi, his mentor. Their bond, initially strong, becomes tragically fractured by the events of Revenge of the Sith.

While the film version of "Revenge of the Sith" offers a visual spectacle, Stover's novelization provides a narrative depth that complements and enhances the story. The book is structured to allow for multiple points of view, offering readers a panoramic view of the galaxy's political and social landscape. 

It delves into the intricacies of the Clone Wars, the Jedi Council's dilemmas – their growing mistrust of Palpatine juxtaposed with their reliance on him for leadership – and the Senate's political machinations, where Palpatine subtly consolidates power through emergency decrees and fear-mongering. This comprehensive backdrop highlights the insidious nature of Palpatine's plan and the systemic weaknesses of the Republic that he expertly exploits, setting the stage for the tragedy of Anakin Skywalker unfolds.


revenge of the sith novel stover

One of the most compelling aspects of Stover's novelization is its focus on character development. Anakin Skywalker's transformation into Darth Vader is not just a plot point but a psychological journey. Stover masterfully delves into Anakin's inner turmoil, exploring his deep-seated fears—of loss, particularly of his beloved Padmé; of inadequacy, stemming from his feeling of not being fully trusted by the Jedi Council; of powerlessness, a consequence of his past as a slave and his inability to control the future. 

The novel portrays how these fears are manipulated by Emperor Palpatine, who preys on Anakin's insecurities and offers him the seductive promise of power to prevent death. The book also enriches the emotional arcs of characters like Padmé Amidala, portraying her growing concern and heartbreak over Anakin's descent, and Obi-Wan Kenobi, offering profound insights into his internal conflict as he grapples with his loyalty to the Jedi Order and his deep affection for his former Padawan.

 Even secondary characters like Mace Windu, whose internal struggles and doubts about the Jedi's path are explored, and Bail Organa, whose early efforts to resist the rising Empire are highlighted, are given narrative space, making them more than just plot devices and adding depth to the political landscape of the galaxy.

Stover's novelization is a thematic powerhouse that explores the complexities of good and evil, power and corruption, loyalty and betrayal. It delves into the seductive allure of the dark side of the Force, portraying it not as an external evil but as an internal struggle, a manifestation of unchecked emotions and desires. 

The book also explores profound philosophical questions about destiny versus free will – is Anakin's fall inevitable, or are there moments where he could have chosen a different path? 

It examines the corrupting influence of absolute power and the dangers of unchecked ambition. Furthermore, the novel delves into the nuanced nature of heroism, questioning whether the Jedi's rigid adherence to their code ultimately blinded them to the darkness rising within their ranks and within Anakin himself, adding significant intellectual depth to the emotional narrative.

The writing style of the novelization is a blend of poetic prose and cinematic pacing. 

Stover employs a range of literary techniques, from stream-of-consciousness internal monologues that offer deep dives into the characters' psyches to dramatic irony, where the reader is aware of truths that the characters are not, heightening the sense of impending doom. 

His descriptive passages are vivid, painting a mental picture that rivals the film's visual imagery, whether depicting the fiery landscapes of Mustafar or the sterile corridors of the Jedi Temple. The dialogue is sharp and meaningful, each line serving to reveal character, advance the plot, or underscore the thematic elements of the story. 

Stover's skillful use of language elevates the novelization beyond a simple adaptation, transforming it into a compelling work of literature in its own right.

The novelization of "Star Wars: Revenge of the Sith" stands as a masterpiece in the realm of adapted works. It takes the skeleton of the film's plot and fleshes it out into a fully realized, emotionally resonant narrative. For those who think they know the story of Anakin Skywalker's fall from grace, this book offers new perspectives and deeper understandings, making it a must-read for any Star Wars aficionado. It provides a richer context for the rise of the Empire and the tragic fate of the Jedi Order, solidifying its place as a significant contribution to the Star Wars saga.

For fans wanting more nuance than the film itself, this book is a must read. 

It's certainly one of the better Star Wars novels this author has read, though my heart still beats strongly for the classic Splinter of the Mind's Eye by Alan Dean Foster. 

Thunderbolts* review - worth your pop corn + ticket

The Marvel Cinematic Universe never really sits still.

Every new chapter builds on the last, pushing forward, folding back, twisting sideways. Some entries land with fanfare. Others slip in under the radar. Thunderbolts is one of the latter. A film about the MCU’s morally grey leftovers didn’t exactly scream “event.”

But what it delivers is smarter, stranger, and far more engaging than expected.

Directed by Jake Schreier and written by Eric Pearson and Joanna Calo, Thunderbolts throws a crew of antiheroes into a trap they didn’t see coming. Florence Pugh (Black Widow, Midsommar), Lewis Pullman, and Sebastian Stan (he's Bucky!) anchor a cast that plays it like a pressure cooker.

Valentina Allegra de Fontaine, still lurking on the fringes of the MCU, corrals this motley crew—misfits, mercenaries, and walking red flags—into a mission that quickly unravels into something darker. Early leaks hinted at betrayals, secret facilities, and a new heavy-hitter named Bob, who becomes the godlike Sentry. By the time they reach a standoff at the former Avengers Tower, the team’s already splintering under the weight of secrets and suspicion.


thurdolts film review florence pugh


The tone stays low to the ground. Humor bleeds from trauma, not punchlines.

Action plays in confined spaces, with weight and consequence. Jake Schreier’s direction favors claustrophobia over grandeur, often slowing the tempo to let silence do the heavy lifting. Even the surreal, like Sentry’s catastrophic alter ego The Void, is shot with unsettling restraint. A visual echo of nuclear fallout shadows lingers in the design, calculated, haunting.

At the center is Florence Pugh’s Yelena Belova, stripped down to nerve and sarcasm. She doesn’t anchor the film so much as expose its fractures. Lewis Pullman’s Bob >Sentry < draws tension from stillness, his performance shaped by unease and explosive potential. Together, their dynamic forms the emotional core. 

The rest circle around them in flickers: Red Guardian’s blunt warmth, Bucky Barnes’ quiet calculation, Taskmaster’s cold focus. Each interaction carries a charge. Not warmth. Not trust. Something closer to detente.

The script carves deep into regret and identity. The characters don’t evolve, they reveal. Yelena’s trauma sits just beneath the skin. Bob teeters at the edge of control. Even Bucky, now a U.S. Congressman (what?), reads less like a reformed assassin and more like someone who knows the machinery from the inside and no longer wants to be inside it.

Set after Captain America: Brave New World, the film threads its consequences carefully. Valentina now owns Avengers Tower, rechristened Watchtower, and the implications stretch far beyond this one chapter. The shadow cabinet is forming. Power is shifting. The gameboard is the same, but the players are darker and far more aware.

The humor works because it’s not performative. It’s defensive. Weaponized. These characters know what they are. They know what they’re not. There’s no grand revelation, no redemptive catharsis. Just small, compromised decisions. A glance. A pause. A refusal.

The design and pacing push away from MCU excess. Practical effects dominate where possible. Fights bruise rather than dazzle. The original script’s influence a more contained, “Die Hard in a vault” setup still shows in the structure, even as the scope widens. Schreier and his collaborators, including Beef creator Lee Sung Jin in later rewrites, keep the film anchored in emotional realism rather than spectacle.

Thunderbolts* doesn’t remake the MCU. It doesn’t need to. What it does is shift the center of gravity. From gods and icons to damage and doubt. From clarity to ambiguity. There’s no question here of good vs evil—only survival vs use.

As Phase Five’s closer, it feels pointed. Not grand. Not final. But decisive.

The universe isn’t collapsing. It’s mutating. The threat isn’t out there—it’s internal. As the credits roll, the message is clear: the line between leadership and manipulation is gone. And the ones still standing are the ones who’ve stopped pretending otherwise.

* The New Avengers

The Last of Us: Epsiode 1 - Season 2 Review - 'Future Days'


It’s not just the infected, not just the guns and blood and endless running. 

It’s grief. 

It's regret. 

It’s the slow corrosion of hope. 

Season 2 doesn’t try to lighten the load. It presses harder. Future Days, the first episode back, wastes no time reminding us: survival has a cost. And sooner or later, someone has to pay it.

The story picks up about five years after Joel made his choice at the Firefly hospital. A choice that saved Ellie but damned countless others. We’re in Jackson now, that rarest thing in this world: a functioning town. Wooden houses. Real electricity. Laughter, even. If you squint, you can almost pretend the apocalypse didn’t happen. But the cracks show fast.

Joel and Ellie, played with such unshakable rawness by Pedro Pascal and Bella Ramsey, are not okay. Future Days circles them with a kind of quiet cruelty. Joel tries to drown the truth under small kindnesses: teaching Ellie to play guitar, giving her space, pretending things are normal. But Ellie isn’t buying it. Ramsey plays her with a taut anger, a constant sense of simmering discomfort that bubbles up in sharp glances, in silences that go too long. The trust between them is poisoned, even if neither wants to say it out loud.

There’s a heavy, deliberate structure to this episode. It splits itself in two: Joel and Ellie in Jackson, and someone else, somewhere out there. Abby.

Abby. Fans of the game knew she was coming, but the show doesn’t rush it. We meet her in glimpses: a woman on a mission, brutal, haunted. . Her scenes are shot colder, harsher. Snow crunches under heavy boots. Guns are slung over tired shoulders. 

And everywhere, that gnawing question: who are you hunting? It’s a bold move, introducing a character most viewers aren’t ready to like. 

It’s a bet on the long game, and The Last of Us has always been good at that.

In Jackson, the episode slows down. 

We get slices of life: patrol training, awkward teenage flirting, communal dinners. Dina (played with an easy warmth by Isabela Merced) slips into Ellie’s world with a lightness that almost hurts to watch. There’s laughter between them. Real, nervous, sweet. You can see the walls around Ellie’s heart, thick and crumbling all at once. When Dina dares to brush Ellie’s hand or lean in too close, you see the battle happening behind Ramsey’s eyes. Let someone in, or stay safe?

Director Peter Hoar, who also directed Long, Long Time, Season 1’s heartbreak grenade, brings a patience to these scenes that’s rare in TV now. He lingers on glances. He lets conversations breathe. He trusts that we understand the stakes. In a world like this, love isn’t casual. It’s dangerous.

And of course, there’s Joel. Pedro Pascal plays him even wearier than last season. Heavier, more brittle. There’s a moment, small but gutting, where Joel tries to gift Ellie a guitar, referencing the Pearl Jam song “Future Days” he once promised to teach her. The song choice is no accident. “I believe... I believed I'd see you once again,” Joel sings, brokenly. It's a love song. It’s a eulogy. It’s a prayer that won’t be answered.

Visually, Future Days feels both bigger and tighter than anything in Season 1. Jackson is rich in detail. Wooden fences. Steaming mugs. Snow piled high against windows. But Hoar shoots it with a sense of claustrophobia. Home doesn’t feel safe. It feels temporary. Every shot reminds us. Things fall apart. Always.

The Last of Us: Epsiode 1 - Season 2 Review - 'Future Days'


The show also teases new dangers in the world outside. There’s a terrifying sequence involving a newly evolved form of infected. One that moves with sickening speed and seems disturbingly aware of its surroundings. It’s a short scene, almost a side-note, but it matters. Nature is still mutating. The world is not done punishing survivors yet.

Some people will say this episode moves slow. They’re right. But The Last of Us has never been about cheap thrills. It’s about setting the knife, twisting it, then waiting for you to realize you’re bleeding. Future Days is meticulous about it. It’s about dread, not jump scares. It’s about knowing. Knowing that the people you love are not safe, not really. And neither are you.

The performances are ridiculous, in the best way. Pascal and Ramsey continue to be freakishly good together. Their chemistry isn’t big and flashy. It’s quiet, loaded with all the things they can’t say. Merced brings much-needed levity without making it feel like a different show. And Kaitlyn Dever, stepping into the daunting role of Abby, already hints at a ferocity that’s going to rip this story wide open.

The writing is sharper than ever. Craig Mazin and Neil Druckmann don’t just adapt the game. They expand it. We get flashes of Ellie’s therapy sessions. Hints of survivors dealing with trauma not by picking up a gun, but by sitting in a circle and trying to talk. It’s messy. It’s real. It deepens the world without slowing the story.

As a first episode, Future Days is confident enough to trust its audience. It doesn’t explain everything. It doesn’t offer easy answers. It says: you know this world. You know how it breaks people. Watch what happens next.

By the end of Future Days, nothing catastrophic has happened yet. No one's died. No one's betrayed anyone. But you can feel it coming. The trap is set. And for the audience, knowing what’s ahead only makes it worse.


28 April 2025

How Han Solo serves as character inspiration for Anna Fang in Mortal Engines

Anna Fang, the formidable aviator and pivotal figure in Philip Reeve's Mortal Engines series, carves a striking presence in a world defined by colossal, mobile cities that prey on smaller settlements. As a celebrated spy for the Anti-Traction League and the owner of the iconic airship, the Jenny Haniver, her very introduction signals a defiance against the established order. 

This immediately draws a parallel to Han Solo, the charismatic smuggler from the Star Wars saga, renowned as the pilot of the Millennium Falcon and a central hero in the Rebel Alliance's fight against the Galactic Empire. 

While initially driven by self-interest, Han Solo's character arc evolves into a deep commitment to the Rebel cause and his companions, Luke Skywalker and Princess Leia

How Han Solo serves as character inspiration for Anna Fang in Mortal Engines


Both Anna Fang and Han Solo embody the archetype of the outlaw hero. Anna Fang, while fitting the traditional hero archetype, displays a complex morality. Her bravery and dedication to the Anti-Tractionist cause, coupled with her willingness to sacrifice for the greater good, align with heroic ideals. However, her readiness to employ violent tactics when deemed necessary introduces a layer of moral ambiguity, echoing the "rogue" aspect often associated with Han Solo. 

Similarly, Han Solo is the quintessential charming rogue, a scoundrel with a heart of gold. His initial cynicism and focus on personal gain gradually give way to unwavering loyalty and acts of profound heroism. His tendency for bravado and initial reluctance to fully embrace the Rebel cause further solidify his place within this archetype. 

This shared core archetype, where both characters possess flaws and perhaps a questionable past but ultimately demonstrate a strong moral compass and act heroically, forms a fundamental connection between them.

The personalities of Anna Fang and Han Solo reveal striking parallels. Anna Fang exhibits a fierce independence and self-reliance, demonstrated by her escape from slavery and the remarkable feat of constructing the Jenny Haniver from scavenged parts. 

This self-made nature and triumph over adversity mirror Han Solo's own origins and fiercely independent spirit. Han Solo also displays a strong sense of self-reliance, depending on his own skills and the capabilities of the Millennium Falcon for survival in a dangerous galaxy. Initially, both characters prioritize their own interests and survival, adopting a cynical outlook shaped by their challenging past experiences. However, beneath this exterior lies a deep well of compassion. Anna Fang, despite her initial reservations towards Tom and Hester, develops a protective instinct, aiding them on their perilous journey. 

Similarly, Han Solo, initially a self-proclaimed loner, gradually reveals his underlying compassion and protective nature, particularly towards Luke and Leia. This gradual unveiling of their inner goodness is central to their "lovable rogue" archetype, making them relatable and compelling heroes.

Their backstories and motivations also share significant echoes. Anna Fang's history as an orphan enslaved in the ice city of Arkangel, her daring escape, and her subsequent role as a spy for the Anti-Traction League are all driven by a desire to protect static settlements from the predatory nature of traction cities. Her experiences under an oppressive regime fuel her commitment to the Anti-Tractionist cause and her fight for freedom. 

This narrative resonates with elements of Han Solo's past, particularly his defiance of oppressive systems. Han Solo's backstory as an orphan on the harsh streets of Corellia led him to a life as a smuggler, often operating outside the constraints of the law. His eventual decision to join the Rebel Alliance was motivated by a desire to fight against the oppressive Galactic Empire. While the specific circumstances differ, both characters share origins marked by hardship and a subsequent rejection of established authority, leading them to lives on the fringes of society and ultimately to active participation in rebellions against powerful, dominating forces.

Both Anna Fang and Han Solo possess exceptional skills that define their roles within their respective narratives. Anna Fang is an extraordinarily skilled pilot of the Jenny Haniver, fluent in Airsperanto, the language of the sky. She is also a formidable combatant, proficient in sword fighting. These skills make her a valuable asset to the Anti-Traction League and a dangerous adversary to her enemies, mirroring Han Solo's importance to the Rebel Alliance. 

Han Solo is renowned throughout the galaxy for his legendary piloting skills with the Millennium Falcon, famously completing the Kessel Run in record time. He is also highly proficient with a blaster and capable in hand-to-hand combat. Beyond their individual skills, both characters serve as crucial protectors and guides to the central protagonists. Anna Fang takes Tom and Hester under her wing, aiding them on their journey and shielding them from danger. Similarly, Han Solo plays a pivotal role in guiding and protecting Luke and Leia throughout their adventures.

Several moments in the Mortal Engines novels echo iconic elements associated with Han Solo. Anna Fang's initial rescue of Tom and Hester from slavery bears a resemblance to Han Solo's initial decision to help Luke and Obi-Wan, setting them on their transformative journey. While Solo's motivation was initially monetary, both acts of intervention serve as catalysts for the main characters' involvement in the central conflict. 

Furthermore, the iconic status of their respective ships, the Jenny Haniver and the Millennium Falcon, is noteworthy. Both are described as being somewhat dilapidated or made of "junk" but possess surprising speed and capabilities. This "fastest hunk of junk" trope is central to their identities and their ability to navigate perilous situations. Anna Fang's role as a leader within the Anti-Traction League, a rebellion fighting against the powerful

 Traction Cities, mirrors Han Solo's eventual leadership role in the Rebel Alliance against the Galactic Empire. Finally, Anna Fang's heroic sacrifice to protect the Anti-Tractionist settlement, while differing in its ultimate outcome, echoes Han Solo's consistent willingness to risk his life for his friends and the Rebel cause.

Crucially, Philip Reeve himself has explicitly acknowledged Han Solo as a partial inspiration for the character of Anna Fang. This direct confirmation from the author provides compelling evidence for the connection between the two characters. 

Moreover, critical and fan reception frequently draws parallels between Anna Fang and Han Solo, often highlighting similarities in their roles, personalities, and even their beloved ships. This widespread recognition reinforces the idea that the influence is significant and readily apparent to audiences.

In conclusion, the similarities between Anna Fang and Han Solo are undeniable. They share the archetype of the outlaw hero, exhibit comparable personality traits such as independence, initial cynicism, and underlying compassion, and their backstories reveal common themes of hardship leading to rebellion. 

About the author Jimmy Jangles


My name is Jimmy Jangles, the founder of The Astromech. I have always been fascinated by the world of science fiction, especially the Star Wars universe, and I created this website to share my love for it with fellow fans.

At The Astromech, you can expect to find a variety of articles, reviews, and analysis related to science fiction, including books, movies, TV, and games.
From exploring the latest news and theories to discussing the classics, I aim to provide entertaining and informative content for all fans of the genre.

Whether you are a die-hard Star Trek fan or simply curious about the world of science fiction, The Astromech has something for everyone. So, sit back, relax, and join me on this journey through the stars!
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