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The 5 Best Moments of Westworld Season 1

The most visceral, violent delights of a stellar first season.

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Editor’s Note: This article was first published way back at the end of 2016 — a world away from the current one, if you ask me. Anyways, with the second season of Westworld finally premiering tonight, I thought it would be fun to take a look back at my thoughts on the first season of the HBO show. Spoiler: I loved it, and I’m hopefully I can say the same about the second season. We shall see tonight! 

When Westworld first premiered about two months ago, I was quickly quite enamored with it. What a saw in Westworld was grand, ambitious science fiction storytelling, and I do believe that (for the most part) the show fulfilled my lofty expectations for it. Sure it wasn’t without its weak spots, but overall I really did find this to be a fantastic season of television, and I am beyond excited to see what comes next.

But before I jump into that particular vat of theories and speculation, I thought it would be appropriate to take a deep dive into the rest of the season, revisiting what I believed to be the show’s strongest moments so far. Keep in mind that, as you would expect from something with this title, there will be FULL SPOILERS FOR THE ENTIRE SEASON OF WESTWORLD BELOW.


5. The Man in Black Laments


There’s few things in the world I love more than a well delivered, brilliantly executed little monologue. Westworld, being really quite dialogue heavy at its core (arguably to its detriment at times) was no slouch when it came to the monologue department, giving its esteemed actors plenty of space to really belt out the pained soliloquies regarding all the various torments of their lives.

But as great as Anthony Hopkins was at theatrically breaking down his character motivation, or as absolutely badass Thandie Newton’s every line of dialogue proved to be, I would argue that it was Ed Harris who really stole the show in the monologue department this season. His “Man in Black” character was shrouded in mystery throughout most of the season, so it made sense the character would instantly attract our attention the moment he chose to speak up. But the speech The Man in Black (nee William) made to Teddy and Angela at the end of “Trace Decay” was a real double whammy — it was both a strong moment for Harris to earn his possible Emmy nomination, and a chance to fill in his character in a very interesting way.

Brilliantly connecting the story of his return to Westworld with the murder of Maeve’s daughter, the real joy of this scene was the sense of discovery and tension that comes with a character literally (and finally) telling you things that actually happened, in a timeline that’s easy to understand. Yeah sure that might seem like a no-brainer for most pop culture, but for question-heavy shows like Westworld, there’s always such a grand level of suspense at play when characters start talking unobtrusively about their lives. Every word matters, every sentence a possible key to a huge and stunning reveal. And though the show would end up holding its biggest Man in Black trump card close to its chest until the very last episode, it doesn’t take away from the excitement and beauty of Ed Harris’ terrific, character defining speech. Westworld had a bonkers cast of talented people, and in scenes like this, it proved to be an absolute joy just to watch them perform.


4. Paint it Black


The moment in which you realize that you’re falling in love with a show is a pretty wonderful thing . And for me that moment came early with Westworld — halfway through the first episode, in fact.

A brilliantly conceived, wonderfully executed set-piece is something I appreciate a great deal, and Westworld really didn’t wait all that long to deliver a great one. Fueled brilliantly by a piano cover of “Paint it Black,” Hector Escaton’s violent siege of the Sweetwater Saloon was not just a fun action sequence, but also a wholly unique look into how fucked up the world of Westworld really is, as host after host is horrifically gunned down all in the name of…a hardware recall. It didn’t take very long for my sympathies to land with the robots, and scenes like this present a pretty strong reason why.

Plus, Escaton’s big speech getting cut off by a trigger happy guest is still one of the funniest moments in the show so far. Sizemore’s frustration with the system quickly became an excellent vessel for humor, huh?


3. It Doesn’t Look Like Anything To Me


The fan theories were already running wild going into the show’s seventh episode, “Trompe L’oeil.” Hell, the theories were running wild since episode two, if I’m being entirely honest. Still though, it speaks to the show’s quality that they were able to reveal one of the series’ most talked about theories, and still make the moment land with the appropriate amount of oomph.

I am of course talking about the big reveal at the end of “Trompe L’oeil,” in which Bernard learns of his true identity: a host crafted by and under the complete control of Ford. It was a show changing revelation but, like most of the twists on Westworld, not a completely surprising one. Still though, it’s a strong sign the show is of high quality when, even if I know pretty much where the series is going, it doesn’t keep from the reveal itself being a wonderful, exciting moment of television.

Because what really makes this “twist” work is not what it is, but HOW it goes about revealing it. And I think the internet has very much proven that this twist will stand the test of time: I mean, “It doesn’t look like anything to me” is already an iconic line, and an instant meme. And that’s because it was a terrific line in an absolutely terrific scene. This is the moment that the truth started to really spin itself out for the show and, as a genesis for the reveals to come, you can’t get much better.


2. Maeve Makes Her Escape


In the midst of alternate timeframes and earth-shattering reveals, it sure was nice to have Maeve’s storyline around to serve as a solid anchor for the rest of the series. Compared to pretty much every other plot point, Maeve’s was by far the simplest: she gained her sentience and, with it, began plotting to escape. Sure, things got a bit more complicated towards the end (the show is still Westworld, after all), but compared to all the other confusion going on, Maeve’s story arc was pretty clear cut.

I would personally chalk that up as a positive, however, as Maeve’s experience with sentience really did ground the series for me. Even at its most trippy and confusing, the show had this fantastic story at its core, moored by a terrific character played by an ever more stunning actor (it will be a crime if Thandie Newton doesn’t land any Emmy nod for this, right?) And unlike pretty much every other character on the show (with the big exception of perhaps Ford), Maeve is the only character to actually get what she wants by the season’s end. And by god did she do it in the best way possible.

Seeing Maeve and her ragtag “army” of Escaton, Armistice, and Felix fight their way out of the main compound was spellbinding television, directed brilliantly by showrunner Jonathan Nolan. Well technically not a single moment, I’m going to lump Maeve’s escape altogether simply because it’s impossible to choice what was the best part: from the first scene of Escaton and Armistice brutally slaying two techies (the first robot-on-human casualties of an ultimately bloody night) to the Cabin in the Woods-esque entrance into the Samurai Room, Maeve’s journey to escape the compound was just what the season was asking for, and the kind of propulsive storytelling that many other TV series would be lucky to have.

Also, that outfit. You lookin’ quit arch indeed, Maeve. Just never stop being you.


1. It All Comes Together


But there can only be one, and in the case of Westworld, the best moment of the season was easily the closing ten minutes of “The Well-Tempered Clavier.” Bernard’s desperate attempt to learn his heritage and understand his creation is exciting in and of itself, but what truly makes this sequence shine is the build-up to the reveal, one that pretty much everyone knows is coming, but is beyond excited to see nonetheless.

Which, yes, is indeed a lot like the previous moment of Bernard learning of his identity, which also placed on this list just a few segments back. That’s even more of an accomplishment, if you ask me: the fact that Westworld can basically play the same exact trick TWICE and do it wonderfully both times is a testament to how strong the storytelling of the series really is.

Of course to say the reveal of “The Well-Tempered Clavier” is the exact same as the one in “Trompe L’oeil” is a bit simplistic. The reveal at the end of “Clavier” is a whole lot more of a development, and manages to wrap in Delores’ storyline into the proceedings too. Really, the final moment of “Clavier” is the thing that brought the whole season together, explaining seemingly everything (including the multiple timeframe scenario) into one jaw-dropping package. In this, it was probably smart to drop the “Bernard is a host” reveal before the “Bernard is a clone of Arnold” reveal, as it allowed both bits of information a lot of room to breath. A lesser show would have just had both twists piled up on each other, and would have been a whole lot messier because of it. By separating the two show-changing revelations, the gravity of each is truly felt.

But so why then did the twist of “The Well Tempered Clavier” work better than the one in “Trompe L’oeil?” Well, for one reason primarily, and her name is Michelle MacLaren. She’s one of the all time best TV directors, and the skill that she brought to tackling this oh-so-important episode really pushed it to season-high quality. No disrespect to Frederick E.O. Toye (who is an excellent TV director in his own right), but MacLaren just brings so much style and confidence to everything she touches, and I don’t think anyone else would have been able to handle the balancing act of “The Well Tempered Clavier’s” final moments. When her name flashed up in the opening credits for the episode, I knew that I would be in for something special, and hoped that Episode 9 of Westworld would be as well-executed and exciting as the many great Episode 9’s of Game of Thrones before it.

And, thankfully, it was. This episode, and in particular its final moments, truly left me breathless. Television at its finest, and proof that Westworld is indeed one of the best TV shows of 2016.



Which, yes, I wholeheartedly believe is the case. Lord knows Westworld Season 1 wasn’t perfect, and there was certainly little things here and there that I had some problems with. But at the end of the day, I think the mantra of one of the show’s best characters sums up my thoughts quite nicely: while some people might chose to see the logical issues or storytelling quibbles of the series, I choose to see the beauty. And if this list shows anything, there was a hell of a lot of it to enjoy this season.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)

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Games

You Won’t Believe This, But That Live-Action Halo TV Series Is Facing Development Troubles!

The series has lost director Rupert Wyatt, and reports of budget concerns put the adaption’s future in jeopardy. But what else is new?

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I’ve been following film and TV news for the better part of a decade and a half, and writing about it for nearly as long. And, in that time, you start to become numb to the cycle of development — creatives are always leaving, executives are always balking, and yada yada yada. Let’s just say there’s a reason why most of the movies in development hell stay there — once a project begins circling the drain, it’s hard to really pull it back out. So after years of this painful back and forth — this developmental ballet — I start to lose faith entirely. For pop culture that has been developing for years, my optimism for it actually get made morphs into the fun category of “I’ll believe it when I fucking see it.” Which, for the record, is why I still don’t believe Kingdom Hearts III is coming out next month. I don’t care that it has a release date, I don’t care that it has gone gold — until the damn thing is in my hands, it’s just vaporware. And you know what else is just vaporware? That goddamn Halo TV series.

Or should I say live-action Halo movie. Really, it’s all the same tale — Hollywood has been trying to monetize the Halo brand since shortly after the first game was released, and became one of the defining video game titles of this millennium. Creating a movie just seemed like the next logical step, and Hollywood recruited Alex Garland to do just that. And Peter Jackson to do just that. And Neil Blomkamp to do just that.  And D.B. Weiss to do just that. And so on and so on. Eventually, that entire project stalled and Microsoft, with the live-action rights back in their hands, decided to shift the game’s adaptation to the world of television, and partnered with a pretty big name to do it: producer Steven Spielberg.

That was five years ago. Just to show how much the world of TV has changed since then, Microsoft initially planned to release the series independently, through the Xbox TV brand. That brand no longer exists which, to these outside eyes, would seem to indicate the TV series was no longer happening. But, nope! After years of silence, Microsoft returned and announced that the TV series was still happening (sure), and that it would be released on Showtime (sure.) A little more time passed. I assumed the concept of a Showtime produced Halo TV series was just some weird fever dream I had. And then, boom! the Halo TV series was off towards the races, with Showtime hiring on showrunner Kyle Killen, a bunch of writers, a big name director — everything! The plan was set for filming to commence at the tail end of 2018, for a late 2019 launch.

And I never believed that shit for a goddamn second. This is a Halo live-action project we are talking about. It’s doomed to fail. And if news from today is any indication, the process has begun in earnest.

As reported by Variety, the “big-name” director hired to helm many episodes of the project, Rupert Wyatt (Rise of the Planet of the Apes), has departed the series. On the surface, it seems like an innocent enough departure: standard scheduling issues. Wyatt even released this statement corroborating the reported reason:

“It’s with great disappointment that changes to the production schedule of Halo prevent me from continuing in my role as a director on the series. My time on Halo has been a creatively rich and rewarding experience with a phenomenal team of people. I now join the legion of fans out there, excited to see the finished series and wishing everyone involved the very best.”

So yeah: “changes to the production schedule” is the culprit. But the question must be asked: why did the production schedule change in the first place?

Well, thankfully, /Film looked into just that, and found that production on the series is not going as smooth as it might have sounded like it was a few months ago. The budget “has spiraled out of control” according to the website’s sources, and the people in charge are none to happy about what the series is becoming. Well the first few scripts were in line with what Showtime was looking for, latter scripts saw “the entire series balloon in size and cost, leading to some cold feet.” Well it’s possible the series might work through these issues (Game of Thrones, which Showtime is clearly hoping to ape here, ended up doing so), history is not on this franchise’s side as it paves its way to the live-action realm.

And, in my mind, that makes absolute sense. Putting aside the curse an old Hollywood witch doctor performed upon this franchise some time ago, I always thought that TV was a weird fit for the Halo brand. The games are massive, large scale explorations of intergalactic war. They are big war movies, essentially. Unlike Game of Thrones (which peppered its big fantasy moments with plenty of scenes involving political intrigue, dramatic exchanges, and other TV budget friendly concepts), there’s not a whole lot more to Halo than the big action sequences and massive, universe spanning lore. Which is fine and dandy for a big blockbuster movie to tackle. But a TV series? I literally did not see how this could happen. And if these troubles just continue to get worse and worse, that may indeed be the case. Will yet another live action Halo project fall apart right before it reaches the starting line?

…Probably, yeah.


Also published on Medium.

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Geek Binge

The 100 Best Episodes of SpongeBob Squarepants

In tribute to recently deceased Spongebob creator Stephen Hillenburg, let’s take another look at the 100 finest moments of his all-time classic series.

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NOTE: This post was previously written for the website Geek Binge back in the summer of 2014. With the unfortunate news of creator Stephen Hillenburg’s passing earlier today, we thought it would be appropriate to repost it its 25,000 word entirety here. The man leaves behind a legacy of some of the best pieces of animated comedy to ever exist. He will be missed. 


Ladies and gentlemen, welcome to the official list of the best episodes of SpongeBob Squarepants! In this article, we’ll dive into the rich history of the show and give you a definitive list of the greatest episodes. Ten episodes will drop here every single day for the next two weeks, culminating in the final spots near the 15th anniversary of the show’s premiere. So read around, comment, bask in the nostalgia, and enjoy all the funny images, memes, videos, and memories from the last fifteen years in one of the greatest TV shows of all time.  We here at Geek Binge love SpongeBob, and we hope you do too.

You may notice the interchangeable nature of the word “episode” in this list. Really, an episode of SpongeBob is two segments put together with commercials, and so technically this is a list of the 100 greatest segments. But some episodes are only one long segment, and sometimes there are three in one, since this show doesn’t like being pinned down to one structure. So just know that you are not crazy, and that I am purposefully being weird about the jargon. Ignore it and you’ll be fine, trust me.


100. “Help Wanted” (May 1st, 1999)

What better place to start on this list than the first episode of SpongeBob? The pilot for the show is the only episode in history to have three segments instead of the usual two, and “Help Wanted” is the second best of the bunch (another is further down the list). It helped establish SpongeBob’s enthusiasm for The Krusty Krab, Squidward’s apathy towards The Krusty Krab, and the tone for the series, all within a brisk eight minutes. It’s an ambitious premiere for a kid’s show, and has a diverse range of humor and animation styles. It’s hard to think what the world would be like without the yellow sponge, and it’s a good thing this initial pitch episode not only did well enough to land it into a full series, but is good enough to still enjoy fifteen years later.

You may remember this particular segment from:


99. “The Great Patty Caper” (November 11th, 2010)

From the oldest entry on the list, we now get to the newest one. The TV special known as “Mystery with a Twistery” is actually a thinly veiled adaptation of Agatha Christie’s Murder on the Orient Express but I use the word adaptation very very loosely. For a full length episode (22 minutes instead of the typical 11) it has a lot of references and call-backs, and has a lot of time to successfully pull off an entire mystery story. It features a terrific new character and straight man in Orin J. Ruffy (The Butler) who counteracts the goofiness of Spongebob and Patrick, only to be later exposed as the real bandit. It’s one of the better special episodes, and is surprisingly funny and clever for being such a recent episode. If you watch modern SpongeBob you know it isn’t up to snuff, but I’m glad there is still the capacity for this show to knock one out of the ballpark every once in a while.

You may remember this particular segment from:


98. “Opposite Day” (September 11th, 1999)

A nefarious plan by Squidward to make sure Spongebob doesn’t get in the way of selling his house, “Opposite Day” challenges the preconceived notions of who Spongebob and Patrick are by forcing them to be someone they aren’t. The characters do the opposite of what they normally do, and at the end straight up pretend to be Squidward. It’s sort of dark if you think about it; a lot of insults are thrown around without sarcasm and the only reason they aren’t taken seriously is because they’re taken as compliments thanks to the holiday. It can be pretty mean in parts, but doesn’t come off as being written that way, just that the characters have the potential to be so. Squidward impersonations aren’t uncommon, but having a climax consist of two Mr. Tentacles is genius.

You may remember this particular segment from:


97. “Jellyfish Jam” (August 28th, 1999)

A relatively straightforward episode (Jellyfish enter Spongebob’s house, he makes them leave, the end), “Jellyfish Jam” focuses not on its plot, but on its sight gags, its catchy music, and commitment to being as silly as it possibly can. There’s a lot of animation on display here: various insert shots of dolphins playing in the ocean, live action underwater footage of sea critters, flashy colors and multiple jellyfish dancing about in fun creative ways. Not every Spongebob story has to be witty, or make you burst into tears with laughter; sometimes you can simply be entertained with what’s going on. “Jellyfish Jam” certainly falls into that category, and suffice it to say, that techno song is still stuck in my head. Not the first time this show has done that though, there’s a lot of fantastic music that’s bound to pop up further down this list.

You may remember this particular segment from:


96. “Scardey Pants” (October 28th, 1999)

This is the first Halloween episode of the show and it premiered just in time for the 31st. The SpongeBob writers have a propensity towards the spooky, scary, and the occult, but at the end of “Scardey Pants” it goes straight Cronenberg with its creepiness. But, it makes the list for reasons non-gore related, including a classic first appearance by The Flying Dutchman, and a lot of really good jokes and an attention to detail that remains an intricate part of the show (Halloween decorations, music cues, ambient sounds, Mr. Krabs writing ‘souls’ on that bag, Squidward not knowing what a goldfish is doing in a bowl of water). There are funnier episodes that deal with fear, and better Halloween themed shows, but this is certainly a good first step.


95. “Tea at the Treedome” (May 1st, 1999)

It’s hard to imagine SpongeBob Squarepants without Sandy Cheeks, the show’s only above-water animal to venture into the depths of the ocean. A lot is established within this segment: the Treedome, Sandy’s love of karate, and the water helmets that Patrick and SpongeBob use for the rest of the series. But this doesn’t get on the list for being a stepping stone, it actually holds up on its own merits. The main running gag of the episode is “putting on airs”, which no child would ever understand, and it leads to a nicely paced and tension filled storyline where SpongeBob dries up and could potentially die. On paper that sounds rather hardcore, but it’s not so harsh when you put whimsical comedy around it. We all remember “pinky out” and “I’m a quitter”, and episode also gave us some delightful live action jokes and a bit of karate.

You may remember this particular segment from:


94. “Texas” (March 22nd, 2000)

If you can stomach all the stereotypes, “Texas” has a big heart underneath all the snark. It’s a bit on the heavy side at times, and speaks to something we can all relate to: feeling home sick in a place we just aren’t familiar to. But thankfully, a lot of endearingly stupid and goofy moments bring enough levity to balance out how sad Sandy is most of the time. I mean, that song about missing Texas, it’s so good. And, if you hate Texas, that’s certainly a plus I guess. I don’t know how much people from Texas actually use quotes from this episode, but I imagine it’s more than you think. Unless Texans don’t have TVs or electricity there yet, or can’t understand cartoons. I’m kidding, of course, relax, readers from Texas.

You may remember this particular segment from:


93. “Culture Shock” (September 18, 1999)

In typical SpongeBob style, some things do not make sense, no matter how much you break it down. Why do people go wild for someone mopping rotten tomatoes? And only when SpongeBob does it? Who cares. “Culture Shock” doesn’t have much going for it, other than the sheer lunacy of the jokes and the absurd number of non-sequiturs (‘Mouth Full of Clams Day’, Squidward’s interpretive dance, “free socks with every meal”, Gary’s incomprehensible poetry). But somehow it all clicks, and the end sequence at the talent show cements “Culture Shock” onto the list and into the classic repertoire of signature moments for the show. For a good while, there is absolutely no dialogue, which is hard enough to pull off, and you might not even realize it. That’s good writing. Plus, there’s a reference to Allen Ginsburg. How cool is that?

You may remember this particular segment from:


92. “Krusty Love” (September 6th, 2002)

Falling in love can be an incredibly complicated and often taxing thing to do. I mean, how can we impress the person we are dating when Spongebob keeps spending all of our hard earned cash? The premise of “Krusty Love” doesn’t sound all that funny on paper, but it’s all in the execution. Despite the story ending very abruptly, it’s always interesting to watch a character like Mr. Krabs have to struggle to keep two things he loves in his life simultaneously: Mrs. Puff, and money. Throw in some terrific jokes, like the ‘imported music’, seeing what Mr. Puff looks like, and ‘renovations’ in the Krusty Krab being gigantic bandages, and I think “Krusty Love” turns out to be an underrated and under appreciated episode.


91. “Skill Crane” (May 20th, 2005)

I love episodes where Squidward is obsessed with something he shouldn’t be (like Krabby Patties). And with “Skill Crane”, the central joke is how easy it is for SpongeBob to win at a crane vending game, and how Squidward can just never seem to win. A lot of well-timed audio cues (the sounds the machine makes when someone wins or losses), strong editing, and the manipulative behavior of Mr. Krabs makes watching Squidward’s misery all the funnier. What’s most impressive about this episode is how a good portion of the story takes place in one corner of the Krusty Krab, which might categorize this as a bottle episode. Not once do you notice how much of it takes place in front of that skill crane, and for that I tip my hat to this episode.

Click the next page on the handy dandy slider to read picks number 90-81!

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Movies

10 Other Members of The Americans Cast Who Should Be Put In A Star War (And The Roles That They Could Play)

Keri Russell should just be the start of alum from FX’s hit spy drama joining the Star Wars universe.

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The talk of the fanboy town this weekend was Keri Russell, a frequent J.J. Abrams cohort, joining the cast of Star Wars: Episode IX (or whatever it might end up being titled.) The think pieces came fast and furious from nearly the moment the casting was first announced, which shouldn’t be too much of a surprise: when any new detail drops about one of these Star Wars films, people will inevitably spend way too much time theorizing about what is to come, for better or (mostly) worse. But when it comes to my initial reaction to the casting, I only had two thoughts: 1) oh my god what is J.J. Abrams going to do to Keri Russell’s hair this time and 2) it’s so damn great to see The Americans cast get work.

Coming off of five years of being perhaps the best dramatic ensemble on television, I truly would be happy to see all of the cast members of The Americans land roles in huge films following the conclusion of the show. And not just huge films, mind you — I’m talking Star Wars huge films. Truly The Americans cast is versatile enough to land any role they could want in the galaxy far, far away, and with Russell’s casting, all I could think about (aside from how amazing she’s going to end up being in the movie, of course) was what her fellow cast members could also bring to the extended franchise.

And I’m a silly person who happens to have a blog so, sorry, you have to be present for my ramblings on such niche, unasked subjects! So here are 10 other members of The Americans cast who deserve a shot at a Star Wars gig and, for the hell of it, the character archetypes they would be great for in the universe. Thank me later, Kathleen Kennedy!


Matthew Rhys (Philip Jennings):

I’ll let my first post-Keri Russell casting tweet speak for itself here:


Holly Taylor (Paige Jennings):

Rey’s previously unmentioned bestie/roommate back home on Jakku. They stay up all night chowing down on dehydrated bread and talking about desert problems, as you do.


Noah Emmerich (Stan Beeman):

Maybe it’s recency bias, but I can’t help but imagine Emmerich playing a tough bounty hunter character. That being said, it will be pretty tragic when he realizes his co-pilot and best friend was his target the whole time. What a dramatic scene they will end up having in the Star Wars equivalent of a parking garage, though.


Brandon J. Dirden (Dennis Aderholt):

Brandon J. Dirden holds himself up with such calm and levelheaded prestige as an actor…making him a perfect choice to play a hapless senator trying to do the right thing, but missing the fact that OOPS an electric wizard is in control now. Bummer!


Costa Ronin (Oleg Burov):

I can definitely see Costa Ronin playing the cool, confident gangster type. He’ll also have a robot arm, for some reason. And he should keep his Season 6 beard, because DAMN does he rock the hell out of it.


Alison Wright (Martha):

Padme in a set of prequel remakes. Because if anyone could sell the anguish of being betrayed by someone they deeply loved for years, only for them to end up being a completely different person than who they thought they were, it would be her. Poor Martha…


Margo Martindale (Claudia):

It’s Character Actress Margot Martindale! Let her be whatever she wants! A Jedi master, a Sith Lord, a crime boss, a droid, a wookie, a gungan — she can do it all, dang it!


Frank Langella (Gabriel):

Let him be the kindest Jedi master ever. OR the most evil Sith Lord to ever exist. Frank Langella is somehow capable of channeling both.


Mail Robot (Mail Robot):

The new official droid mascot of Star Wars, duh! NEXT.


Keidrich Sellati (Henry Jennings):

…He can also be present.


Also published on Medium.

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