Back in September, I felt lazy as fuck regarding EVERYTHING but obikin xD
So I did what any fan would do in this situation: I put together a fanmix that would tell the story of the Skywalker saga. But with songs from MUSICALS
(and other silly songs by ABBA and Celine Dion, cuz, I gotta be honest, I really just wanted Obi-Wan to give a drama queen vibe on stage)
Yes, I spent three entire days on my fat ass to make a
I absolutely love how casual the Seaweed Brain name drop was! It would have been so easy to make it a big moment, or to have Leah put emphasis on it, but no. Because to us it's huge, but to the characters it doesn't mean anything yet. It was perfect.
I made this for my kid to show her why soundtracks are a Big Deal but uh if anyone has any requests I will happily cut your unhinged song into a Trek clip.
God fucking damnit I misread sith Obi-wan as siren Obi-wan ONCE and now I have THOUGHTS about small town siren Obi-wan disguising himself as an eccentric music tutor/boardwalk busker to explore the ~human world~
“Jyn was changing. It was evident in her fluid movements and her lucid stare…She'd shed none of her intensity, but it came with what Cassian could only interpret as a confidence bordering on invincibility.
She'd always struck him as a person unafraid to die. Now she seemed like someone who couldn't…
Jyn was changing. And through her, Cassian would do what was required of him.”
Me, pretending be a normal, non-obsessive Star Wars fan: yes I liked the Ahsoka end credit sequence the Normal Amount
Also me, to anyone that will listen: note the use of the taiko drums to bring us back to Ahsoka's samurai/Japanese aesthetic as opposed to the Mandalorian's cowboy/Western aesthetic; the presence of non-Jedi force-users such as loth-wolves and purrgils suggesting Ahsoka's continued journey engaging with the Force beyond the Jedi-Sith binary; the weaving in of historical Star Wars soundtrack motifs such as Where the Sun Sails and the Moon Walks and Burying the Dead; and the exquisite timing & placement of actors' names within the sequence e.g. Natasha Liu Bordizzo when Sabine's theme from Rebels begins to play, David Tennant in the visually busiest and connected section of the star map indicating Huyang's long life and extensive connections, and Eman Esfandi at the visually most lonely part of the star map as the journey line heads into isolation. Also note the intensification of the taiko drums during Sabine's theme, an intriguing juxtaposition of the "Jedi" (/samurai) identity and "Mandalorian" (/cowboy) identity, linking both identities with Sabine, and linking Sabine and Ahsoka in the audience's mind. In this essay I will-