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Related Articles: The photo shows what appears to be the chair soon to be occupied by Dave Filoni, the Executive Creative Director at Lucasfilm and creative mind behind much of Star Wars’ most well-received entries over the past decade and beyond. While Filoni’s directorial and writing abilities speak for themselves, his other signature styling is the cowboy hat that rarely leaves his head. Fans who have followed his work from The Clone Wars all the way to The Mandalorian will no doubt be champing at the bit to see what he comes up with this time. 2. Kyle Newman (Journey) – Journey To Tatooine was one great sequel on its own, but there were several reasons why I couldn’t care less about any of it now. In addition as usual we got a fantastic trailer showing some stunning scenes shot in glorious black & white courtesy Josh Trank himself along side many incredible costumes thrown around like they’re so very recent; both Jedi and Jawa alike make appearances when you are not directly controlling them or simply looking out their windows through walls while taking pictures just how cool these new characters really are. There can only ever possibly come more fan favorites coming off trailers.

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1. Chen’s new book takes place in an interesting spot in the Star Wars canon: the moment after the Battle of Geonosis in Attack of the Clones, but before the events of the 2008 Clone Wars film which launched the famous series. In other words, this is a story about Anakin and Obi-Wan before Ahsoka but after the war breaks out. And for Mike Chen, the whole purpose of this book is to create a kind of Clone Wars “movie” that he wished had existed during the run of prequels. But how do you tell such a tale without having everyone involved? I reached by email last month with Mira Sorvino—who directed both The Force Awakens trilogy (including its 2015 spinoff) as well – who told me her thoughts on what she’s doing here, including whether or not it qualifies under Lucasfilm Studios’ editorial guidelines relating specifically too much plot divergence between films from different media companies. “We really don’t have clear rules when we’re making movies,” said Sorvarine, whose experience works perfectly within Marvel Cinematic Universe standards governing continuity since these are shared universes created through cohabitation across multiple screens worldwide at once
2. On this year’s May the Fourth, like clockwork, a new piece of Star Wars news dropped: a trailer for the forthcoming Disney+ show Obi-Wan Kenobi. Previous Star Wars Day announcements have included that Thor: Ragnarok director Taika Waititi would be cowriting and helming a future Star Wars movie and that General Mills would be releasing a Baby Yoda cereal. It’s also a day for all kinds of fan actions, like making crafts, doing cosplay, and holding movie marathons. But over the years, the holiday has begun to feel more and more like a marketing stunt—a former grassroots fan holiday that’s been turned into a news peg for a trailer for a show people don’t seem too jazzed about. For example you see it every time there’s an announcement on Twitter or Facebook regarding upcoming movies; each one features your favorite (and oft-disappeared) characters in goofy outfits wearing costumes drawn by their very first appearances from The Dark Knight Rises ‒or worse still, something entirely unrelated… such as Christopher Nolan creating Batman themed shirts back at CinemaCon 2005. You’ll think “oh no I hate Chris Nolan! My love affair with him waned after he made his own films!” And when those projects are finally revealed? Well they get announced anyway because some celebrity wants them, just ask Madonna
3. On this year’s May the Fourth, like clockwork, a new piece of Star Wars news dropped: a trailer for the forthcoming Disney+ show Obi-Wan Kenobi. Previous Star Wars Day announcements have included that Thor: Ragnarok director Taika Waititi would be cowriting and helming a future Star Wars movie and that General Mills would be releasing a Baby Yoda cereal. It’s also a day for all kinds of fan actions, like making crafts, doing cosplay, and holding movie marathons. But over the years, the holiday has begun to feel more and more like a marketing stunt—a former grassroots fan holiday that’s been turned into a news peg for a trailer for a show people don’t seem too jazzed about. For example you see it every time there’s an announcement on Twitter or Facebook regarding upcoming movies; each one features your favorite (and oft-disappeared) characters in goofy outfits wearing costumes drawn by their very first appearances from The Dark Knight Rises ‒or worse still, something entirely unrelated… such as Christopher Nolan creating Batman themed shirts back at CinemaCon 2005. You’ll think “oh no I hate Chris Nolan! My love affair with him waned after he made his own films!” And when those projects are finally revealed? Well they get announced anyway because some celebrity wants them, just ask Madonna

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Chen’s new book takes place in an interesting spot in the Star Wars canon: the moment after the Battle of Geonosis in Attack of the Clones, but before the events of the 2008 Clone Wars film which launched the famous series. In other words, this is a story about Anakin and Obi-Wan before Ahsoka but after the war breaks out. And for Mike Chen, the whole purpose of this book is to create a kind of Clone Wars “movie” that he wished had existed during the run of prequels. But how do you tell such a tale without having everyone involved? I reached by email last month with Mira Sorvino—who directed both The Force Awakens trilogy (including its 2015 spinoff) as well – who told me her thoughts on what she’s doing here, including whether or not it qualifies under Lucasfilm Studios’ editorial guidelines relating specifically too much plot divergence between films from different media companies. “We really don’t have clear rules when we’re making movies,” said Sorvarine, whose experience works perfectly within Marvel Cinematic Universe standards governing continuity since these are shared universes created through cohabitation across multiple screens worldwide at once

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