The issue with Kenobi
It’s not that it’s especially good or especially bad. It’s not that it’s revisiting a time period we’ve seen before. It’s not that it involves old characters and a fair bit of retconning.
It’s not that we’re back on Tatooine (for an episode). It’s not that we see kid Luke or kid Leia. It’s not that Hayden Christiansen is behind the mask (or in flashbacks). It’s not that the stakes are lower than usual. It’s not even that it’s serialized TV rather than a movie—though that’s close.
It’s that it feels like TV. It isn’t cinematic: in scope, in style, in ambition, in storytelling. Both its visual grammar (on the screen) and its literal grammar (on the page) are fit for the age of binging and streaming, not for a once-in-a-lifetime must-see cultural event.
There are no stunning landscapes. There is no moving music or even a memorable theme. The action is indistinguishable from other generic CGI-fests today, only somehow smaller. Even with the deep Disney pockets and the Star Wars brand, the show feels like it was made on the cheap: on soundstages, before green screens, with small crews, smaller casts (regular and extra), yet without the modest grandeur of The Mandalorian manufactured by StageCraft.
Compare with Top Gun Maverick, which for all its “legacy sequel” status is so big, so impressive, so jaw-on-the-floor awesome that it’s already the biggest hit in Tom Cruise’s 40-year career. It bends your will into submission by virtue of nothing so much as its self-confidence as pure spectacle.
By contrast, there is neither spectacle nor patience in Obi-Wan Kenobi, no pregnant pauses or non-filler geography. The editing is ho-hum. Viewers find themselves in the land of close-ups, the default setting of television cinematography. No one is winning any awards for this show.
That’s it. That’s the problem. Ewan McGregor is doing yeoman’s work, as ever. Kid Leia is cute. I didn’t mind the Anakin flashback. Nor do I mind looking to the animated series as a template here. But that template is for character, canon, and nuances of character. The visual, aural, and storytelling template is 1977—full stop.
Whether or not the finale lands the plane without eye-rolling, nostalgia bombs, or massive canon-revision—that is, even if the last episode doesn’t ruin anything in the OT and actually turns out to add a thing or two—it will still not have been worth the effort. Kennedy, Favreau, Filoni, et al have to start thinking bigger. They have to start unleashing their writers and directors while resisting, at all costs, the siren song of a Star Wars analogue to the Marvel in-house style, which is no style at all.
The worst eventuality here is not to make something bad, a la Episode II. The far greater sin is to make something boring, even forgettable. And I expect to have forgotten this series by year’s end.
