Obi-Wan Kenobi is a six-episode Star Wars story that lands somewhere between nostalgia and new ground. It follows Obi-Wan Kenobi (Ewan McGregor) in the years between Revenge of the Sith and A New Hope, when he lives in hiding on Tatooine and watches over young Luke Skywalker. The show brings back McGregor’s Obi-Wan, Hayden Christensen’s Anakin Skywalker, and Kumail Nanjiani’s Reva, a character built around the Force’s dark side. It also adds new faces, including Rupert Friend as the villainous Darth Vader and Joel Edgley as the bounty hunter Marshal Merrick.
The series was released on Disney+ in May 2022. It was directed by Deborah Chow, who also directed episodes of The Mandalorian. The premise is simple: Obi-Wan has survived the fall of the Jedi Order and now lives as a hermit on Tatooine, watching over Luke while keeping a low profile. When a plot against the Empire forces him out of hiding, he must face his former apprentice, now the Sith Lord Darth Vader.
Trailer, via Star Wars.
Opening With the Hovel
The show opens with Obi-Wan in his hovel, a man who has lost everything. He speaks to himself about the Force, about the choices he made, and about the friend he lost. That friend is Anakin Skywalker, now dead in the eyes of the galaxy. But Obi-Wan knows the truth: Anakin is alive, and he has become something far worse.
The first episode sets up the stakes quickly. Obi-Wan is approached by a group of rebels who need his help. They want to free a prisoner named Inquisitor Reva, who knows secrets about the Empire. Obi-Wan refuses, but the offer changes his mind. He realizes that staying hidden is no longer an option. The Empire is hunting him, and he has to fight back.
The performances carry this opening stretch. McGregor plays Obi-Wan with a weariness that feels earned. He is not the confident warrior of the prequels. He is a man who has made mistakes and is paying for them. Christensen returns as Anakin, now Vader, and the transformation is complete. His voice is deeper, his movements are mechanical, and his presence fills the screen with dread. The two actors share scenes that feel like a slow-motion collision, with each one waiting for the other to make the first move.
Nanjiani’s Reva is the show’s most interesting creation. She is a Force user who serves the Empire, but she has a hunger that goes beyond duty. She wants power, and she sees Obi-Wan as a way to get it. Her scenes are tense, and her dialogue is sharp. She is not a villain in the traditional sense. She is a survivor, and that makes her more dangerous.
Meeting Luke Skywalker
The middle episodes shift to Tatooine, where Obi-Wan meets Luke Skywalker. The young boy is curious about the Jedi, and Obi-Wan is torn about whether to teach him. The show takes its time with this relationship, showing the bond grow slowly. There are moments of warmth, but there is also tension. Obi-Wan knows what Luke will become, and he is afraid of the path he is on.
The world of Tatooine is rendered with care. The streets are dusty, the moisture farmers are poor, and the Jawas are mysterious. The show draws on the visual language of the original films, but it also finds new angles. The dunes are vast, and the sunsets are orange. The music, composed by Michael Giacchino, carries a melancholic tone that fits the setting.
Friend’s Marshal Merrick is introduced as a bounty hunter who works for the Empire. He is a comic relief character, but he is also a threat. He is clever, and he knows how to talk his way out of trouble. His scenes are some of the best in the show, because they are the rare moments of levity. He is not a serious villain, but he is effective at his job.
The show’s pacing slows down during these episodes. Some viewers might find the middle saggy, with too much talk and not enough action. But the slower pace builds tension for the finale. The audience knows what is coming, and the show spends time making the confrontation feel inevitable.
The Faceoff With Vader
The last two episodes bring the story to a head. Obi-Wan travels to a remote planet to confront Vader. The confrontation is brutal, and it is the centerpiece of the series. The two fighters circle each other, trade blows, and speak in code. The scene is a masterclass in choreography, with the camera moving fluidly around the action.
The final episode also brings Luke into the conflict. He is a teenager now, and he wants to fight. Obi-Wan tries to stop him, but Luke is determined. The show does not let him win easily. Luke fails, and Obi-Wan saves him. The moment is emotional, and it sets up the future of the Skywalker saga.
The ending is open-ended. Obi-Wan disappears, and Luke is left alone on the planet. The show ends with a shot of the twin suns of Tatooine, and the credits roll. It is a quiet ending, but it is fitting. The story is about loss, and it ends with loss.
Sound, Music and Vision
The technical aspects of the show are strong. The cinematography is clean, and the color grading is consistent. The production design is detailed, with props and sets that look lived-in. The costumes are faithful to the original films, and the prosthetics are subtle. The show looks expensive, and it is.
The sound design is also excellent. The lightsabers clash with a satisfying hum, and the blasters crackle. The background noise of the streets is present but not overwhelming. The show sounds like a Star Wars film, which is a compliment.
The music is a highlight. Giacchino’s score draws on John Williams’s themes, but it also creates new ones. The main theme is a variation on the familiar melody, and it is effective. The leitmotifs are well-placed, and they add weight to the scenes. The music is the glue that holds the show together.
What Critics Said
The show was a commercial success. It drew large audiences on Disney+, and it was praised for bringing back beloved characters. Critics were mixed, but the published Metacritic score is 7.3 out of 10, which is solid for a Star Wars property.
The show also faced controversy. Some fans felt that the portrayal of Anakin/Vader was too sympathetic. They argued that the show should have shown more of the horrors of the Dark Side. Others complained that the show was too slow in the middle. These criticisms are fair, but they are also subjective.
A Bridge Between Trilogies
The show set the stage for future projects. It introduced Reva as a recurring character, and it established her role in the larger Star Wars universe. It also showed Luke as a teenager, which is a rare depiction. The show is a bridge between the prequel trilogy and the original trilogy, and it works as both a standalone story and a stepping stone.
The show also benefited from its platform. Disney+ allowed it to reach a global audience without the need for theatrical release. This is a trend in the industry, and it shows no signs of stopping. Streaming services have changed how franchises are marketed and consumed.
The show is available on Disney+. It can be streamed in full, and it is worth watching for fans of the franchise. It is not essential viewing, but it is enjoyable. It is a good entry point for newcomers, and it is a satisfying conclusion for longtime fans.
The Numbers
- Release: May 2022, Disney+
- Episodes: 6
- Directors: Deborah Chow
- Main cast: Ewan McGregor, Hayden Christensen, Kumail Nanjiani, Rupert Friend, Joel Edgley
- Score: 7.3/10
| Aspect | Strengths | Weaknesses |
|---|---|---|
| Acting | McGregor and Christensen deliver strong performances | Some secondary characters feel thin |
| Story | Sets up future projects effectively | Middle episodes drag in places |
| Production | High-quality visuals and sound | Some plot holes |
| Pace | Slow burn builds tension | Too slow for some viewers |
The show is a solid addition to the Star Wars canon. It honors the past while moving forward. It is not perfect, but it is enjoyable. It is a story about a man who lost everything and found a reason to keep fighting. It is a story about a boy who became a hero. And it is a story about a galaxy that never stops turning.
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