#obi-wan kenobi miniseries

[beasanfi1997]

Maybe Darth Vader tries to warn Ezra Bridger that Thrawn, Arihnda Pryce and Palpatine are going to take over Lothal in the episode Siege of Lothal. Ahsoka Tano didn't knowed It because She wasn't there in Bad Batch. You know? The Bad Batch season One ended that the Empire destroy Kamino and before they went on Exegol to rebuild another clones. So if they will made Star Wars Rebels season five, i Hope that they will accurate the Darth Vader comics where Anakin Skywalker, Ezra, Ahsoka and Omega will find out about the Exegol when they will meets Ochi and Qi'ra too find out about It. After the Empire falls, Ezra, Ahsoka, Omega and Qi'ra didn't told nobody and even Luke Skywalker about Exegol. Then in the Canon novel Luke find out about Exegol before Force Awakens and After the Mandalorian. I Hope too that when they will made Star Wars Resistence season three set in the movie rise of Skywalker, Ezra and Ahsoka decide to reveals about Exegol's existence at the Rebellion and the Resistence when they sense Ben Solo find the Exegol before they team up for the Last Battle

Yes, Anakin in the episode Siege of Lothal tried to warn at the audience, six months before we will meets his grandson Ben. Grand Inquisitor too warn the audience Seven years before we see Obi-Wan Kenobi miniseries

[originaljediinjeans]

#also the depressing hilarity of bail in his sparkly palace on his home planet #FaceTiming one of the sole survivors of a genocide now living as a dusty old hermit #and going #😀😀 never give up babe #<  prev tags #with the added awfulness that bail is 10 years away from being a genocide victim himself (@smhalltheurlsaretaken) yeah we all just grin and bear with that irony for all Bail Organa content

I’m rewatching the first kenobi show ep and I do have to say it’s rich for Bail Organa to show up at Obi-Wan’s Shame Cave and go like “we’ve all made mistakes but it’s time for one last fight.” first of all Bail you’ve never made a mistake in your life. second of all you never stopped fighting in the first place. you don’t know the meaning of shame. you’re too valid and dignified and elegant and sexy. you wouldn’t get it.

[jewishcissiekj]

Remember when a Jedi Master tried to pull away Asajj's thoughts and memories and Asajj just... got over it and murdered the Jedi? She's built different idk

Star Wars: Republic #53 (Written by Haden Blackman, art by Brian Ching)

[ainasobsession]

Hayden Christensen as Anakin Skywalker in the Obi-Wan Kenobi (TV Miniseries 2022)

[tremendouskoalachild]

Inquisitor Women in Star Wars: a 2024 Summary

while women are underrepresented in the Sith order, the Inquisitorius is quite an egalitarian organization :) let's sum up what we know about these lovely ladies

(spoilers for everything concerning inquisitor characters, including the manner of their death)

2. Second Sister aka Trilla Suduri

Padawan to Cere Junda at the time of Order 66

captured and tortured into joining the Inquisitorius shortly after

dies 5 years later, executed by Vader for her perceived failure

human; age unknown, I'd estimate late teens to mid-twenties at the time of recruitment

created for Jedi: Fallen Order (2019), appeared before the game's release as a cameo in Darth Vader 2017 issue 19 (2018) and as a main character in the game tie-in miniseries Dark Temple. mentioned in Rise of the Red Blade (2023).

ambitious, relentless, a good slicer. wears a full helmet all the time when on the job.

3. Third Sister aka Reva Sevander

12-year-old human youngling at the time of Order 66

joined the organization voluntarily and while hiding her identity, at an unspecified point a relatively short time before 10 years post-Order 66

left the Inquisitorius 10 years after Order 66, after failing to kill Darth Vader and being left to die

created for Obi-Wan Kenobi (2022). not in RotRB, likely due to not yet being a member during the book's timeline. does not appear and isn't mentioned in other canon material, outside of OWK's comic adaptation.

spent 10 years single-mindedly pursuing her goal of revenge. very intense and ambitious. youngest recruit we know of and the only one to have at least a quasi-canon number duplicate (the Third Brother).

4. Fourth Sister aka Lyn Rakish

joined the Inquisitorius around the time of Order 66, apparently of her own free will

species, age and rank at that point unknown, may have been a peer of Barriss or somewhat older

left the Inquisitorius after serving it for over 15 years (actual time unknown but less than 20 years)

created for Obi-Wan Kenobi (2022), part of the main cast in Tales of the Empire (2024), mentioned in RotRB (2023).

dedicated to the organization, pragmatic and better at cooperation than most colleagues.

7. Seventh Sister

joined the Inquisitorius shortly after Order 66, and appears to have been tortured into it

mirialan; age and rank before recruitment unknown, implied she may have been a peer of Aayla Secura or younger

killed in action after serving the Inquisitorius for 16 years

created for Rebels s2 (2015), a minor character with several scenes in Darth Vader 2017, RotRB (2023) and the Inquisitors comic miniseries (2024)

only one on the list without a known name. snarky and flirty with targets. strained relationship with multiple coworkers.

9. Ninth Sister aka Masana Tide

Dowutin, age unknown and hard to estimate

joined the Inquisitorius involuntarily shortly after Order 66, through torture and mutilation

dies 10 years later, killed by her target

created for Darth Vader (2017) as a recurring character. part of the main cast in Jedi: Fallen Order (2019), shows up in Jedi: Survivor (2023), has a part in RotRB (2023) and Inquisitors (2024).

best empath of the Inquisitorius. snarky and jovial even with Darth Vader. very traumatized. keeps losing body parts.

13. Thirteenth Sister aka Iskat Akaris

joined voluntarily after flirting with the dark side for years and being groomed by Palpatine

21-year-old Knight at the time, pkorian (species created for her)

killed 5 years after joining by Vader for perceived disloyalty

created for Darth Vader 2017 issue 19 (2018), main character of novel Rise of the Red Blade (2023)

only inquisitor to have a boyfriend in canon. has a helmet she wears on missions but is pretty laid back about it. only gets her inquisitor name a while into her tenure, so her birth name is known to others.

+ Barriss Offee

former Jedi in Republic prison at the time of joining

agreed to get recruited a short while after Order 66, but left on her first mission after learning more about the organization, never got a proper inquisitor title

mirialan; age unknown but is around the age or slightly older than Ahsoka, 17 year old at the time; would have been 21 according to a non-canon reference book

has existed since 2002 as a background character in the prequels and their now non-canon tie-in novels, her short-lived inquisitor iteration was long rumored and introduced in Tales of the Empire (2024).

[hereticpriest]

Masterlist

MDNI

Series

Mercy

Rating: Explicit 18+

Relationship: Obi-Wan Kenobi x Reader

To begin with, some warnings about this story: A/B/O Dynamics, Female Alpha, Male Omega, Some chapters may involve messing with the whole 'alphas are always dom and omegas are always sub' because I think nuance exists even in A/B/O dynamics, Fucking with the timeline (this is a blend of Canon, Legends, and original lore), Minimal use of Y/N (Explained in the first chapter), Reader is an alien species of my own creation and thus has a physical description, Familial bonds explored heavily, Clone rights explored heavily, Violence is more graphic than canon-typical however any graphic descriptions will be noted, AFAB reader, Not beta-read so I apologize for any mistakes.

Read on AO3

Part One - Part Two - Part Three - Part Four - Part Five - Part Six - Part Seven - Part Eight - Part Nine - Part Nine Point Five - Part Ten -

Miniseries

The Typist - Laszlo Kreizler and his Bitey Wife

Bite - Laszlo Kreizler x reader ft odaxelagnia

Chew - Laszlo Kreizler x reader ft odaxelagnia, prequel to Bite

Swallow - Laszlo Kreizler x reader ft odaxelagnia, prequel to Bite and sequel to Chew

Gulp - Laszlo Kreizler x reader ft lactation and mommy kink, sequel to Swallow

Alpha Mine - Laszlo Kreizler x reader ft Omegaverse, AU to The Typist series

Bokeh - Niki Lauda and his Photographer Wife (Mouse)

Muse - Niki Lauda x photographer!reader ft soft femdom and bondage and breeding

What Happens in Ibiza - Niki Lauda x photographer!reader x James Hunt ft threesomes, double penetration and anal

Life and Death - Niki Lauda x photograhper!reader x James Hunt ft heavy hurt/comfort and mild petplay

Brûlée - Dirk Brûlée and his Single Mama

Sriracha - Dirk Brûlée x single mom!reader ft sex toys/sybian

Red Carpet - Dirk Brûlée x single mom!reader ft breeding

Victory - Helmut Zemo and his Super Soldier

Pyrrhic - Baron Helmut Zemo x Reader ft 14k of HYDRA being the worst and Helmut Zemo being a consent king

Clutch - Helmut Zemo x Reader ft daddy kink, Hydra hunting and impact play

Oneshots

The Bath - Baron Helmut Zemo x Reader ft cockwarming

Ctrl and Power - Ernst Schmidt x Reader ft rough sex and secret relationships

Ganache - Tony Balerdi x Original Male Character ft food play and body worship

Requests and Prompts

Reader likes to come up behind Zemo and kiss or bite him

Roman Sionis fucking reader in his club and being a show off about it (and also he's a total switch)

Roman Sionis making female reader cockwarm him during a gang meeting

Obi-Wan Kenobi noticing female reader's tattoos after sex and pausing to enjoy them

[djr3x]

This is exactly what the Obi-Wan Kenobi miniseries did for my hyperfixation of Hayden!

I’ve loved him since the early 00’s but over time my love went dormant only to be reawakened with so much vengeance!

And boy did I miss him!

[flurryheaven]

2023 Primetime Emmy Nominations - Outstanding Fantasy/Sci-Fi Costumes

Hocus Pocus 2 / Disney+ Costume Designer - Salvador Perez Assistant Costume Designer - Elizabeth Shelton Costume Supervisor - Gala Autumn

Salvador Perez and Gala Autumn were previously nominated in 2015, Costumes for a Contemporary Series, Limited Series or Movie for The Mindy Project.

House of the Dragon / HBO Season 1, Episode 1 "The Heirs of the Dragon" Costume Designer - Jany Temime Assistant Costume Designer - Katherine Burchill Assistant Costume Designer - Paul Yeowell Assistant Costume Designer - Rachel George Costume Supervisor - Joanna Lynch

Obi-Wan Kenobi / Disney+ Episode 1 "Part 1" Costume Designer - Suttirat Anne Larlarb Assistant Costume Designer - Stacia Lang Costume Supervisor - Lynda Foote

Suttirat Anne Larlarb won an Emmy in 2013, Art Direction for Variety or Nonfiction Programing for London 2012 Olympic Games Opening Ceremony.

Suttirat Anne Larlarb as previously nominated in 2011, Costumes for a Miniseries, Movie or Special for Cinema Verite.

Lynda Foote was previously nominated in 2017, Period/Fantasy Costumes for a Series, Limited Series or Movie for Westerly.

The Lord of the Rings: The Rings of Power / Amazon Prime Video Season 1, Episode 1 "A Shadow of the Past" Costume Designer - Kate Hawley Assistant COstume Designer - Libby Dempster Assistant Costume Designer - Lucy McLay Assistant Costume Designer - Jaindra Watson Costume Supervisor - Pip Lingard Costume Supervisor - Jenny Rushton

The Mandalorian / Disney+ Season 3, Episode 6 "Chapter 22: Guns for Hire" Costume Designer - Shawna Trpcic Assistant Costume Designer - Elissa Alcala Costume Supervisor - Julie Robar Costume Supervisor - Julie Yang Silver

Shawna Trpcic was previously nominated in 2021, Fantasy/Sci-Fi Costumes for The Mandalorian. And in 2002, Fantasy/Sci-Fi Costumes for The Book of Boba Fett.

Julie Robar was previously nominated in 2020 and 2021, Fantasy/Sci-Fi Costumes for The Mandalorian. And in 2022, Fantasy/Sci-Fi Costumes for The Book of Boba Fettt.

What We Do In The Shadows / FX Season 4, Episode 6 "The Wedding" Costume Designer - Laura Montgomery Assistant Costume Designer - Barbara Cardoso Costume Supervisor - Judy Laukkanen

Laura Montgomery, Barbara Cardoso, and Judy Laukkanen won the Emmy in 2022, Fantasy/Sci-Fi Costumes for What We Do In The Shadows.

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To The Most Talented Scottish Actor To Ever Play Such A Legendary Character In A Galaxy Far Far Away in the Earlier 2000's

& Since Then Has Become A Household Name For The Whole World

Hailling All The Way From Perth, Scotland 🏴󐁧󐁢󐁳󐁣󐁴󐁿

He is a Scottish actor🏴󐁧󐁢󐁳󐁣󐁴󐁿. His accolades include a Golden Globe Award, a Primetime Emmy Award, and the BAFTA Britannia Humanitarian Award. In 2013, he was appointed Officer of the Order of the British Empire (OBE) for his services to drama and charity.

His first professional role was in 1993, as a leading role in the British Channel 4 series Lipstick on Your Collar. He then achieved international fame with his portrayals of heroin addict Mark Renton in the drama films Trainspotting (1996) and T2 Trainspotting (2017), 

Obi-Wan Kenobi in the Star Wars prequel trilogy (1999–2005), poet Christian in the musical film Moulin Rouge! (2001), SPC John Grimes in Black Hawk Down (2001), young Edward Bloom in Big Fish (2003), Catcher Block in Down With Love (2003), Rodney Copperbottom in Robots (2005), Camerlengo Father Patrick McKenna in Angels and Demons (2009), "the ghost" in Roman Polanski's political thriller The Ghost Writer (2010), Dr. Alfred Jones in the romantic comedy-drama Salmon Fishing in the Yemen (2011), Lumière in the live-action adaptation of the musical romantic fantasy Beauty and the Beast (2017), the adult version of the titular character in the fantasy comedy-drama Christopher Robin (2018), the adult version of Dan Torrance in the horror film Doctor Sleep (2019), and Black Mask in the DC Extended Universe superhero film Birds of Prey (2020).

He made his directorial debut with the historical crime-drama American Pastoral (2016), where he also played Seymour "Swede" Levov.

In 2018, He won a Golden Globe Award for Best Actor – Miniseries or Television Film for his dual role as brothers Ray and Emmit Stussy in the third season of FX anthology series Fargo, and received Golden Globe nominations for Best Actor – Musical or Comedy for both Moulin Rouge! and Salmon Fishing in the Yemen. He has also starred in theatre productions of Guys and Dolls (2005–2007) and Othello (2007–2008). In 2021, he portrayed fashion designer Halston in a Netflix miniseries Halston for which he won a Primetime Emmy Award for Outstanding Lead Actor in a Limited or Anthology Series or Movie. 

He returned as Obi-Wan

in the 2022 Disney+ miniseries Obi-Wan Kenobi.

Please Wish This OG Jedi Master Of A Actor A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊

You Heard Of Him & You Gotta Love Him

The 1 & Only

Mr. Ewan Gordon McGregor

May The Force Be With You Mr. McGregor, Always

[ladyknight33]

This actually fits in with the Grand Inquisitor's little speech at the cantina in Obi-Wan Kenobi's miniseries. (they should have had more than 8 episodes to tell the story.)

Where he explains that Jedi can't help themselves and must help others in need. The itch of compassion drives their decisions.

It's a running theme for all the Jedi. At some point in the Jedi's life they find a cause that they stake their life on. Could be monumental, could be a single life. But they always put the others before themselves.

That is basically how to define a Jedi. For as much as the Jedi are told to avoid attachments, they are very attached to making sure their cause lives.

The best thing about The Acolyte is how the Jedi were murdered. Indara dies because her compassion is used against her, when Mae threatens an innocent bystander, Indara focuses on saving them, instead of watching Mae. Torbin dies because his heart breaks for whatever happened with Mae in the past, 16 years ago. She can't touch him until she weaponizes his heart against him. Sure, you can kill Jedi with overwhelming numbers against them, but if you don't have numbers, how do you get under a Jedi's defense? Use their compassion, use their care for others, use their connections to wanting to help others against them. These Jedi died because they cared.

[beasanfi1997]

Cal Kestis in the end of Jedi Fallen Order realize that Darth Vader was watching over Ezra opening the Jedi Holocron and five years later he meets Ezra for the First Time that he talks about Bogan that the name that Anakin used It as Ahsoka use the name Ashla when She was with Laerte Sisters and the Farm people in Ahsoka vile and the Last episode of tales of Jedi. Cal realize that Ezra was talking about Anakin and he was worried saying: "But you didn't realize that he Is tried to hidden his identity?" Ezra don't believe It because he Is going to made his 10th birthday to waiting his friend Anakin.

Jedi Survivor Is set between Obi-Wan Kenobi miniseries and Darth Vader miniseries.

Kanan too realize that Ezra was talking about Anakin when Rebels started and he was worried too fourteen years later After Bad Batch because Kanan didn't realize that Anakin was protecting Ezra from Thrawn and Maul. Kanan Remember only that Anakin tried to explain about the chip that the Clones have It in their head that he said at Ezra, fifteen years later in the episode Lost commanders from Rebels season two

And now in the Mandalorian, Ezra was shocked that Vader Is Anakin for nine years. He should Listen to Kanan and Cal...... Astrid, the Daughter of Cal and Merrin knowed It about It that her parents told her in Ahsoka series

[xtruss]

James Earl Jones’s Voice Was Something More

For the Actor, Speaking was Synonymous with Character.

— By Lauren Michele Jackson | September 13, 2024

James Earl Jones. Photograph By Andy Gotts/Camera Press/Redux

In A Culture Inclined to get its fill of drama from the screen over the stage, especially if the screen offerings are being furnished by the House of Mouse, one wants to trumpet that James Earl Jones, who died on Monday, at the age of ninety-three, was an actor greater than the reach of his instantly placeable voice. The corrective feels especially pressing as knee-jerk eulogies of Jones pour in from eighties and nineties kids, whose sticky-fingered nostalgia already dominates so much of our collective memory. Their first, formative encounter with Jones’s craft likely came courtesy of the acousmatic, in his vocal performances as Darth Vader (revived as recently as 2022, in A.I. form, in the Disney+ miniseries “Obi-Wan Kenobi”) and Mufasa (in both the 1994 and in several subsequent iterations of Disney’s “The Lion King”). These roles are celebrated along with other embodied Jones movie portrayals that are nonetheless distinguished by their sonority and bearing: the mesmerism of Terence Mann in “Field of Dreams,” the comic humorlessness of “Coming to America” ’s King Jaffe Joffer (first onscreen more than three decades ago, and then laid to rest in a recent sequel).

The worry is that our remembrance will whittle down Jones’s vast career—spanning sixty years and encompassing more than two hundred turns in the theatre, on film, and on television—to, as with Plutarch’s nightingale picked clean, vox et praeterea nihil: a voice and nothing more. In a study of that name, the philosopher Mladen Dolar admits that “the voice appears to be the most familiar thing.” At the same time, to experience any voice is to witness the strange physics of that which emanates beyond the body “yet remains corporeal,” biddable neither to words nor to flesh. This is a paradox best finessed by those, like Jones, who consider their true residence the theatre, where bodies must project by any means necessary. And what a voice! What facility with his instrument! Jones was unshy about its vital role in his work. No mere accident of the larynx, a voice was, as he understood it, tantamount to presence, the well-trained conduit to the emotional realities of dramatic performance.

As is an actor’s prerogative, Jones began his life story with an implausible memory. His 1993 memoir, “James Earl Jones: Voices and Silences,” written with Penelope Nivan, recalls “the warmth of the light” filling his grandmother’s home after his birth, on January 17, 1931, in Arkabutla Township, Mississippi. His people were Southern farmers, moody, contemplative, industrious, colored. He was raised by his maternal grandparents after his parents, Ruth and Robert Earl Jones, ill-suited to each other and to child rearing, left to pursue other lives—a desertion that Jones would, in a journal entry, relate to his experiences performing “Oedipus Rex.” The definitive tragedy of the play was not Oedipus’ patricide, Jones argued, “but that when he was a helpless infant, the father said, ‘Get rid of him,’ and the mother said, ‘Okay.’ ” Both parents would float in and out of his life. Robert was himself on the way to becoming an accomplished actor, and when Jones was twenty-one, the father introduced the son he hadn’t seen since infancy to a world awaiting him in New York’s cultural scene, especially to its theatre.

The memoir’s symmetrical subtitle, “Voices and Silences,” announces a motif he traces throughout his life and lifework. Jones was raised amid the “din” of country life, including family members prone to gossip and tall tales—“I grew up with the spoken word,” he writes. However, when the family moved North for a new start and better schools in Michigan, when Jones was five years old, he began stuttering and soon retreated into silence; he describes himself as “virtually mute” from the age of six. This crisis in language became existential: “I was robbing myself of any presence. I was denying myself identity.” Then, in high school, he found himself steered, by an English teacher, toward the great stewards of Anglophone poetics and prose: Shakespeare, Longfellow, Poe, Emerson. Afterward, Jones “could not get enough of speaking, debating, orating,” and, above all, “acting.” (Nor was it immaterial that, on the other side of puberty, he “could now speak in a deep, strong voice” that others “seemed to like.”) Jones likens his metamorphosis to that of Gwen Verdon, who was thrust into dance classes while struggling with rickets as a child. “The weak muscle can become the dominant muscle, either out of obsession with the weakness or genuine endeavor to correct,” he observes, adding, “the weak muscle can define a life and a profession.”

Jones enrolled at the University of Michigan, in Ann Arbor, in 1949, to pursue a career in medicine, and soon switched to studying drama, though at the time he considered this merely an enjoyable way station until his R.O.T.C. unit was called into Korea. He learned of the armistice in the green room during a summer season of community theatre. Instead of being deployed, he spent nearly two years with a cold-weather training unit in Colorado. Soon afterward, Jones moved to Greenwich Village to study at American Theatre Wing. There he met the acting coach Nora Dunfee, a former student of the linguist after whom “Pygmalion” ’s Professor Higgins was modelled, whose speech drills solidified for Jones the tie between diction and character. “Because of my muteness, I approached language in a different way from most actors,” Jones explains. As his training progressed, he “came to believe that what is valid about a character is not his intellect, but the sounds he makes.” That interpretation set Jones apart from students of the de-rigueur Method. Lee Strasberg would later tell Jones that he was among the rare actors better left “on their own paths.”

His professional opportunities, even as they accumulated, could scarcely keep up with his “rapacious” desire for roles. He rehearsed for a production of “Henry V” while in another play, Lionel Abel’s “The Pretender,” that was still running, then shortly afterward landed the major part of Deodatus Village alongside Cicely Tyson and Louis Gossett, Jr., in an Off Broadway, all-Black staging of “The Blacks.” It was a racially contentious production from which Jones took periodic breaks to do small television jobs and, naturally, more Shakespeare; he even turned down better-paid work, such as the Oscar-nominated drama “One Potato, Two Potato” (which co-starred his father), to work with Joe Papp, the founder of Shakespeare in the Park. In 1963, Papp offered Jones the role of Othello, a performance that the theatre critic Tom Prideaux, in Life, praised as “unjustly neglected” in favor of a showier Othello turn across the Pond, by Sir Laurence Olivier.

After Othello came another “elemental man,” as Jones called them, in “The Great White Hope.” The protagonist was based on the real-life heavyweight-champion boxer Jack Johnson, who winningly flouted the color line, in bed and in the ring. The play, by Howard Sackler, débuted on Broadway in 1968 and explored the disharmony of a man who needs words to undermine the racial symbolism of his body. The conflict in the story is cannily relevant to Jones’s own amative history and uneasy philosophy of race. He viewed Black men as America’s exemplary tragic heroes, à la Hamlet or Willy Loman, and yet was allergic to the ways in which race pride would compel others to speak on his behalf. Jones may have got “in Othello’s skin” and garnered a reputation as color struck—“I will concede that I have had a way of falling in love with my Desdemonas,” he admits in the memoir—but he was not one to give himself over to any representative image. Jones recalled a discussion with “Jimmy” Baldwin, who asked, “What do you see when you wake up in the morning? Do you see a black person or do you see a person?” Jones answered, “I see me.”

“The Great White Hope” presented its own special opportunity for Jones to deliver a performance whose muscularity exceeded his physical form. The author and activist Toni Cade Bambara wrote at the time that Jones “diverts us from some of the flabby features of the text,” and added, “There is always some telepathic, unnameable, supra-human something or other that is brooding, defiant, cunning, gentle, primordial—there is an ambience as well as a person that strikes us.” The role won Jones his first Tony, by which time there were already plans to adapt the play for the screen, but Jones was unhappy with the resulting movie, directed by Martin Ritt and released in 1970, feeling that it “eliminated every poetic aspect that the stage play had conjured,” reducing mythic characters “to mere social entities.” Did fault lie with the director, or the screenplay, or in the limitations of adaptation itself? “The lesson may simply be that it is almost impossible to transmute one form into another—a novel into a film, a stage drama into a motion picture. Maybe!”

Maybe! But actors make the worst critics and, thankfully, we needn’t always take their word for it. Generations separated by space and time from the theatrical version of “Great White Hope” will never know what they’re missing when they put on the film, if they can find it. Whatever absence is counteracted by presence—Jones as Jack, entirely too comfortable in his skin, his voice augmenting a lean frame that is, anyway, often excluded by frequent closeups. Here, his mouth is made mythic. Early in the film, ahead of a consequential match, a crowd of fans, young and old, gather around Jack, having prayed for a win “for us.” There is no money on the line but a more amorphous bet—the fate of a race. “My, my,” Jack responds. His baritone sounds destined for the pulpit, but his lecture on pride comes as a surprise: “Country boy, if you ain’t there already, all the boxing and all the nigger-praying in the world ain’t gonna get you there.” His timbre is as much a betrayal as his taste for the carnal press of white and caramel skin. There will be no Negro spirituals on this day. ♦

[mkcosplayorcovid-19prevention]

[8bitdigi]

Ewan McGregor will be a Guest at FAN EXPO San Francisco 2023

Star Wars fans in the Bay Area are in for a treat as it has been announced that Ewan McGregor will be a guest at FAN EXPO San Francisco 2023.

Star Wars fans in the Bay Area are in for a treat as it has been announced that Ewan McGregor will be a guest at FAN EXPO San Francisco 2023. Ewan McGregor is an actor best known for his role as a young Obi-Wan Kenobi in the Star Wars series since 1999. He first played the iconic character in the prequel trilogy and recently returned for the miniseries, Star Wars: Obi-Wan Kenobi. His other…

[fanthatracks]

Marvel Comics will be adapting the Disney+ series, Obi-Wan Kenobi this fall.  The six issue miniseries will be written by Jody Houser with art from Salvador Larocca. StarWars.com is excited to announce that Marvel will adapt the show — set between the events of Star Wars: Revenge of the Sithand Star Wars: A New Hope — with Star Wars: Obi-Wan Kenobi, kicking off in September. A 6-issue miniseries written by Jody Houser with pencils from Salvador Larocca, every installment will tell the story of an episode from the TV series. You can check out the main cover by Phil Noto, along with variants by Lee Garbett and Taurin Clarke, below. [gallery link="file" ids="145342,145341,145340"] Jody Houser who first came to Star Wars comics with 2017's Rogue One adaptation spoke with StarWars.com on the upcoming series: "Adaptations are how I got my start in Star Wars comics, and I'm always excited to try my hand at another," Houser tells StarWars.com. "Obi-Wan Kenobi introduced some fantastic new characters, as well as giving us new insight into old favorites, and I hope fans enjoy seeing a familiar story play out in a whole new medium." The Obi-Wan Kenobi TV series is currently available, at the time of publication, on Disney+. Princess Leia in the series, Vivian Lyra Blair, spoke with Fantha Tracks Radio's Planet Leia about her work on the series, and you can listen in below.  

[rnewspost]

Liam Neeson Reveals Why He Isn't Pleased With The Amount Of 'Star Wars' Spinoffs

Liam Neeson said he isn’t interested in his own “Star Wars” universe spinoff following a brief appearance in last year’s “Obi-Wan Kenobi” miniseries. Neeson, who starred as Qui-Gon Jinn in “Star Wars: Episode I – The Phantom Menace,” returned to play his Jedi character in the hit Disney+ series. The actor, in an appearance on “Watch What Happens Live with Andy Cohen,” revealed that he isn’t…