Out of all the episodes that Star Wars Rebels has delivered, A World Between Worlds is perhaps the most overwhelming. It includes such a significant number of fantastical components without ever specifically bringing back the Mortis trio. It’s an outwardly particular scene and Dave Filoni’s team obviously made a special effort to influence it to look great, and feel great — voice lines channeling in from all three trilogies in the canonical Star Wars saga makes it a festival of the connectivity of everything. Similarly as with The Last Jedi, I came out of the episode, uncertain of how I felt about what I had seen. In this episode, a long and elusive mystery was finally solved, and I sincerely doubt that anybody anticipated that it would occur like this. Ezra ends up in an otherworldly dimension teeming with portals and whispers, the whole history of the galaxy happening all at once around him. The voice of Sir Alec Guinness as Obi-Wan Kenobi promptly gave the scene the warm, film-grain robustness of the Original Trilogy, and as more voices showed up, the possibilities grew. The pathways themselves were convincing to watch, inclines diving vertiginously descending while as yet looking almost insanely real, as though Ezra has truly ventured inside a work of art.
In the mean time, Minister Hydan confronts Sabine — or rather attempts persuade her through diplomacy to help him with his exploration. Hydan still doesn’t have much characterisation, and I would have enjoyed no less than one line to recount on a bit of his history before the events of the episode. Sabine however doesn’t buy his smooth talk, keeping calm and stopped a war of aesthetic sensibilities before it starts: “I’m smarter than you.” She does in the end discover that the entryway can be opened utilizing the figure of the Son.
Ezra is opening entryways as well within the world between universes that is the holy land of time and space, and the Force attracts Ezra to Ahsoka’s showdown with Darth Vader in the Sith Temple at the end of Season 2. All of a sudden, time travel becomes full of unimaginable outcomes. It is true that it is not surprise that the Star Wars sage has explored this concept before: utilized to interface characters from the Expanded Universe to the Prequel Era films at the last part of the EU book arrangement. The endless possibilities were indeed endless, possibly bringing characters from various eras together. The episode doesn’t push this that hard, however, and doesn’t give us any glimpses into the future — I’d love to see even the littlest cameo of Rey in animation form in Rebels. In any case, Ezra had a date with the most heart-wrenching moment in his life — Kanan’s demise.
From the minute he thinks about it, Ezra’s drive to save Kanan’s life is depicted as a terrible thing. His voice turns out to be more forceful, more fixated. Ahsoka clarifies that this moment is something of a shatterpoint for Kanan — he had to give up his own life to ensure the rebels live to fight another day. While it was not made clear whether this would cause a time paradox or a catastrophic moral crisis, but in Star Wars, the two are one and the same. Reviving the dead is a horrible idea.
The way that Emperor Palpatine’s appearance isn’t the greatest disclosure in this scene says something. Palpatine’s Sith magic is superbly odd, Force lightning reminiscent of the enchanting powers of Dathomirian witches flowing over the screen as Ezra keeps running along the thin way. They’re likewise strangely immaterial; Palpatine isn’t physically present and Ezra is no longer in moral crisis, so the Force lightning is only a physical assault, similar to the giant boulder rolling towards Indiana Jones. This scene is excellent, but it spun its wheels, managing Ezra’s sorrow in the greatest way possible while additionally keeping his own stakes generally detached.
Things being what they are, did this scene handle Force mystery superior to the Mortis trilogy? Overall I think the idea of a bond of all things works more preferable as a physical place over as a trio of people. The scene does a great job underscoring the subject of Ezra’s association with his homeworld. In a way, his story is important based not on the grounds that he is a Jedi but rather on the grounds that he is a Jedi from Lothal, somebody who was in the ideal place at the correct time to ensure the temple’s sanctuary. He began as a street kid who made a communication tower his home, and how he discovers that his home planet is an important nexus through which the Force communes through all time and space.
The qualities of these two scenes are altogether bound up, and Dave Filoni’s most ambitious ideas are also his most important. The time travel, the Miyazaki impact (from Ezra’s means on the dark surface to the pot Hydan uses to pour tea), the highly anticipated yet self-contained return of Ahsoka — these are children of Filoni’s thoughts and ideas completely. Some of this is simply a matter of taste. Yet, different questions once unanswered are as of yet unanswered. Ahsoka returns back to the very end of Twilight of the Apprentice, into the temple, her destiny, once apparently clarified, now nearly comedic in the amount it has been teased. I’m happy she’s still alive — it would not sit well for Ahsoka to bite the dust in this scene, no place for her to be yet another teacher that Ezra would be forced to watch sacrifice for him—however rather she’s a shortcut for weight the scene doesn’t really carry. I would prefer her be alive than for her, as Asajj Ventress, to be sliced from the story to make emotional tension for a less significant character pushed into the spotlight. Be that as it may, I would likewise have loved her conversation with Ezra to push the themes of the shot a little more, to settle on his choice as more personal. But as the temple vanishes into the ground, I wonder whether Ezra is truly the character who changed the most in this episode. Perhaps Lothal did.
A World Between Worlds will keep me thinking for some time — about both the possibility of the time travel component and about what it meant for Ezra to let go. His last lesson, he says is to let go — of his sadness, maybe, of his attachment, yet not of his hope. He catches one final sight of the wolf called Dume toward the end, the Force demonstrating a moment of mercy. A Jedi needs to relinquish his own bonds, however that doesn’t mean that the world won’t be caring enough to help him to remember his family. In moments like this, Rebels shines.