“When did you become the good guy?” “Don’t insult me.”

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M: Asajj Ventress’s first appearance in the Clone Wars movie is honestly what sold me on the series… She’s feminine, terrifying, and serves as such a good counterpart for Obi-Wan.

K: Their rivalry is hilarious to me because he just flirts at her every time they meet. But yes, Ventress is a seriously cool character. Lady villains are as awesome as lady heroes in the Star Wars.

M: It takes a special person to dismiss Obi-Wan’s flirtations with the coolness that she does. But, we’re not here to talk about their rivalry, or even Ventress’s role as a villain throughout the first few seasons of Clone Wars. Today’s topic… well, it came about like this. I see this meme popping up all the time featuring Hondo and Obi-Wan that says something like “Villains who turn into awkward friends are SO important,” which is funny enough in its own way, but if we’re talking villains who turn into amazing neutral sometimes-allies, Ventress definitely takes the cake. Or meiloorun.

K: Haha. I think “neutral” is the key word here. There are other characters who are supposed to be neutral, like Hondo (though his presence usually offends me, so it’s hard for him to come across as neutral) but I think Ventress’s arc takes her to a place where she’s truly neutral in a way other characters aren’t.

M: Quick disclaimer– we’re talking just Clone Wars here. Dark Disciple is for another day, because although I’ve placed it on hold at the library, I haven’t gotten to read it yet.

K: Good point, I don’t know what the EU has to say about Ventress so this is strictly Clone Wars-based analysis.

M: SO, truly neutral. I think to understand why Ventress fills the neutral role so well, however, we need to start by looking at her backstory and her time as a villain. I think one of the most fascinating things about her is how similar she is to our heroes, Anakin and Obi-Wan.

K: *Obi-Wan voice* Do tell.

M: This is only something I’ve realized fairly recently, but Ventress is basically an alternate reality version of Anakin. She, like Anakin, started life as a slave and lost her initial Jedi master all too soon (the impetus of her journey to the Dark Side). And although she eventually becomes Dooku’s minion, she’s operates on a similar sort of cold justice–an “eye for an eye” kind of thing.

K: That is a fascinating parallel. I’m thinking back to the Clone Wars novelization by Karen Traviss and how so much of what Ventress does is driven by this need for revenge against the Jedi for something they didn’t do (help her homeworld) and how that also kind of parallels Anakin’s eventual hatred for the Jedi. She has a sense that her grievance is justified.

M: Yes, exactly! In a weird way she’s motivated by many of the same emotions as Anakin is. Things need to be set right, even if that means using questionable means. I also think it’s interesting that, like Anakin, she’s always seen as inferior by her peers. She’s never quite accepted into the Sith inner circle, always referred to as “Assassin” or derogatorily referenced as Dooku’s pawn. Anakin, given that he is a different sort of Jedi, also feels constantly on the outside.

K: Part of the problem for Ventress is that Dooku probably isn’t supposed to be training her in the first place. After all, with the Sith there can be only two, so he’s breaking the rules by having this unofficial “apprentice.” Which I suppose is another backwards parallel to The Team because Obi-Wan wasn’t supposed to train Anakin either–he went against the Council and they just gave in and basically gave him retroactive permission.

M: Oooooh yes. Good point. And finally, one last parallel for Anakin: Dooku (at Sidious’s command) turns on Ventress because she’s becoming too powerful. That fear of power and the idea that she is dangerous for the Sith is (again, a backward parallel) similar to Anakin’s position as “The Chosen One” and the fear the Jedi Council has of his power.

K: Definitely. The lineup of that situation also parallels RotS, with the leader (Sidious/Yoda) demanding that the master (Dooku/Obi-Wan) kill their dangerous apprentice (Ventress/Anakin). And in both cases, the masters fail.

M: Whoa, this goes even deeper than I realized. GAH, the Star Wars.

K: They don’t mess around.

M: Poetry– it rhymes, as George would say. Okay, but I don’t want to leave Obi-Wan out of this, because I think that there are parallels between he and Ventress as well, albeit more in terms of personality rather than backstory. I love the chemistry between Obi-Wan and Ventress, as we’ve mentioned, and I love how they both have a love of the craft.

K: Ok, for Obi-Wan I see that, but I may need an example for Ventress.

M: Ventress’s obsession with power and her commitment to the Dark Side come about in part due to a fascination with the Force and its power. In the “Nightsisters” episode when we get all those cool flashbacks of Ventress’s story, there’s this really interesting moment when she goes and seeks out Dooku to ask for training. He agrees, on the condition that she proves herself. I think Ventress’s way of fighting (again, mostly coming from the Clone Wars novelization) is very intellectual. She’s seeking out knowledge and improving her technique constantly– in order to prove herself.

K: Which relates to both our heroes: the constant knowledge seeking is very Obi-Wan, and we all know how desperately Anakin wants to prove himself.

M: She’s also intensely interested in what motivates people, and the psychology of her enemies. Whereas Anakin is more about the general strategy and gets into this zone where it’s all about the win and the fight, I think both Ventress and Obi-Wan carefully weigh the motivations and psychological processes of their opponents– which is what makes them so fun to watch.

K: Oh that makes a lot of sense. And when they do it to each other, it makes them really good opponents and also allows for the level of banter they reach so comfortably.

M: Yes! For example, going back to the great novelization of the Clone Wars movie, I love Ventress’s thoughts about Obi-Wan: “He talked too much. Maybe he liked the drama, or used it to work himself up for a fight.” Uh, accurate.

K: Yes! She uses her observations of Obi-Wan every time they fight to get more and more of a sense of how he thinks, and how he operates. She knows him pretty well by the later seasons of Clone Wars. Probably better than Anakin does in some ways, since Anakin’s not very good at paying attention…

M: I think she certainly has a better idea of Obi-Wan’s weaknesses.

K: For sure–if it had come to a duel to the death between the two of them, I don’t think Ventress would have tried to do a flip over his head to take the high ground (sorry, Anakin).

M: Bahahahahahaha no, she would not have. She would have read that situation much better. And finally, one more Obi-Wan parallel… everything she loves DIES.

K: Ow that’s not a fun comparison.

M: Seriously though– her master dies. She’s thrown out of the Sith. Her entire people die (and Obi-Wan’s the “last of his breed” as he says). Basically she turns into this Ronin of sorts, an outcast, constantly hiding… much like Obi-Wan on Tatooine. Which brings us to the new Ventress we find in the latter half of season 4. A neutral Ventress.

K: I mean, sure, she’s not above seeking occasional revenge or joining up with bounty hunters, but she’s no longer actively evil. However, she’s definitely not “good” either.

M: I think we first see this, speaking of, when she teams up with Baby Boba’s gang.

K: Ah yes, Baby Boba. A character I often forget exists because I have a lot of apathy for Boba Fett in general. (Cue gasps from the larger Star Wars fandom.)

M: Haha dude, me too. Especially Baby Boba, I have about as much feeling for him as Mace Windu does. Back to Ventress: this is in Season 4, the episode is called “Bounty.” Basically she was hired to be part of this whole kidnapping operation, and it goes south quickly, given Baby Boba’s lack of planning. The princess they’ve kidnapped appeals to Ventress, telling her “I never asked to be ripped away from my home.” Which strikes a chord in Ventress.

K: Ventress knows all too well what it feels like to lose everything.

M: Which leads her to finish the mission in a really fascinating way. She does this acrobatic double-cross where she manages to both get the bounty and give the princess back to her people (though for a price, of course), and also does the honorable thing by sharing the bounty with the team as agreed upon. It’s fascinating because it’s both acting in self-interest (which is at her core), but has streaks of both cruelty and integrity.

K: She finds a weird kind of balance.

M: Basically, she stops being nihilistic.

K: Her next big appearance is one of my favorites though–a somewhat accidental team up with Obi-Wan, where we once again get to see that neutrality at play.

M: I am so obsessed with this episode, despite he-who-does-not-exist-post-TPM, because the Ventress/Obi-Wan chemistry is insanely good. Maul lures Obi-Wan out by killing innocents, and Obi-Wan is… well, not his usual self, because Maul knows exactly how to hurt him and throw him off balance (Qui-Gon, that’s how).

K: (GAAAH) Plus he has a heavily armed, ridiculously strong henchman in his brother Savage.

M: Savage is so OP it’s obnoxious. Obi-Wan doesn’t really stand a chance. So he’s getting completely slaughtered when Ventress arrives, planning to kill Savage and collect the bounty/exact revenge.

K: She could just wait for them to finish killing Obi-Wan before doing that (although since Maul is incredibly Extra™, that might take a while…)

M: (“Your death will be beyond excruciating,” etc. etc. )

K: …but instead, she lures the two Zabracks away and then gets Obi-Wan back on his feet.

M: Cue my favorite Ventress line: “Kenobi! Don’t tell me someone’s finally knocked the fight out of you!”

K: Look at her word choice, she knows him so well haha. Also, she’s clearly been watching season 4 and knows that it’s just Obi-Wan constantly getting beat up.

M: Ugh someone help him– oh wait, Ventress does! And there’s this weird respect between them because she knows he’s not a quitter and he knows she’s a valuable ally. And then she slaps him awake– she’s not being *nice* after all. Haha, I love his confused “Ventress?” when he finally wakes up.

K: This is definitely not something he expected, hence his question/teasing comment “When did you become the good guy?”

M: “Don’t insult me.” Ugh their banter here is ON POINT.

K: I like the idea that for Ventress, the implication that she’s on Obi-Wan’s side is as insulting as it would be for him to be considered on her side. But it’s not “I am a Sith and could never be pathetic like you,” the way it might have been before. She’s found her own path now. And that doesn’t involve being one of the “good guys” either.

M: Yes yes yes. She’s doing whatever is in her own best interest, so she’s quick to team up with Obi-Wan. And I love how their previous rivalry turns into an easy, almost practiced duo. “Ready?” “Like you even have to ask.”

K: Yes! They fight very well together, switching places a lot, tossing lightsabers around–it’s fun to watch.

M: Toward the end of their fight, when they decide to run (“I learned from watching you!”), Obi-Wan cues Ventress, and she jumps over Savage while he flings her up with the Force. They don’t even have to explain what they’re thinking. I mean, this is some Obi-Wan/Anakin level choreography, as short-lived as it is. And once they’ve escaped, Obi-Wan points out that now they’re sort of a team. Because, as he says, Maul and Savage are after both of them. The enemy of my enemy is my friend.

K: The old Ventress would have immediately turned on Obi-Wan once they got out of danger, but neutral Ventress…she just kind of nods tiredly like “yeah, you’re right Kenobi, see you around.”

M: And she is “around” one more time– this time to awkwardly partner up with Ahsoka.

K: Going back to how Ventress has parallels with our heroes, that’s actually how Ahsoka gets her to help–by pointing out that they “aren’t that different.” In this arc, Ahsoka is on the run from the Jedi Order, alone and hunted in the undercity of Coruscant. Ventress, having been kicked out of the Sith and hunted by the Jedi and the Sith alike, can relate. So, though she initially is just going to turn Ahsoka in and collect the bounty, she reluctantly agrees to help Ahsoka clear her name instead.

M: Granted, Ahsoka makes some wild promises about getting Ventress a full pardon as well.

K: That makes me laugh every time. Like Ahsoka, sweetie, you’re on the run for suspected treason, it’s not like you have power.

M: But hasn’t Ventress got to know that, too? I always sort of get the sense that she’s in for the fun of it, rather than Ahsoka’s actual “reward.” Ventress never even admits to being on board, she just says she’ll go wherever the tide is flowing.

K: And she does have fun, particularly when she and Ahsoka take out a platoon of clones–although Ahsoka insists they do it without hurting them, of course.

M: And Ventress isn’t too perturbed about the whole “not hurting” them part either. You get the sense that she’s bored out of her mind being a bounty hunter. Ahsoka’s an amusement, as well as a way to fight against the Jedi in one way or another. So, Ventress helps Ahsoka out briefly and leaves her with a cryptic “These are strange times” as a farewell.

K: All would seem to be well, but a lot of unfortunate events transpire, and Ahsoka gets caught again. Then, once in custody, she tells Anakin she thinks Ventress is behind the things she’s accused of, so Anakin, being Anakin, tracks Ventress down and demands some answers at lightsaber-point. Which leads to another really interesting conversation.

M: Ventress explains that she was only after Ahsoka for the bounty… but then she tells Anakin that she realized she has a lot in common with Ahsoka (again, this reveals that Ahsoka’s promised pardon isn’t what motivated the team-up).

K: Anakin gets really angry about that comparison (predictably) until Ventress explains further: “My master abandoned me…and that’s exactly what you did to her! You and your precious Jedi Order.” And then he’s just really upset (and so am I).

M: Ugh we can’t get into how this plants more seeds for Anakin’s fall because that’s terrible, and makes me sad, but eventually Ventress gives Anakin all the right info– that it’s really Barriss who Ahsoka last talked to. Anakin heads off to attempt to set things right, and that’s the last we see of Ventress in Clone Wars.

K: Her journey is a long, twisty one but very interesting in light of the other journeys highlighted in Clone Wars. In particular, Ahsoka–who also becomes a version of neutral, albeit significantly more skewed toward the Jedi than Ventress would ever be.

M: Very true. Ventress and Ahsoka’s similarities only deepen over time. And while Ventress spends the remainder of her life caught in the after effects of the Dark Side, she manages to be the most fascinating “villain turned awkward friend” of the series… and I think it comes down to the fact that she ends up having sympathy for the people she was previously fighting against.

duh duh duh DUN DA DUN, DUN DA DUN

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K: The only Star Wars score John Williams has won an Oscar for is the original 1977 Star Wars. (ESB, RotJ, and TFA were all nominated, but none of the prequels were, which is a travesty we can talk about another day.) I love the ANH soundtrack, as I love all Star Wars music, but it’s missing something the other Star Wars scores have–The Imperial March.

M: Certainly the absolute most iconic bit of Star Wars music, one identifiable within a few notes. However, given that it’s woven so deep into the fabric of popular culture, it’s easy to overlook not only its individual brilliance but also how skillfully John Williams incorporates the theme as a leitmotif throughout the rest of the soundtracks.

K: Although it’s called “The Imperial March,” its subtitle is “Darth Vader’s Theme,” and that’s how most people know it: the stirring and evil-sounding music that blasts every time Vader makes an entrance. But if we follow the story chronologically, starting with the prequels, that’s not how it first appears.

M: No, it first appears in “Anakin’s Theme,” arguably one of the best pieces of Star Wars music EVER, given what we’re about to talk about. And to clarify, I don’t know music very well… I’m sure there’s a lot more here than we’ll discuss.

K: Oh for sure. I bet there have been Masters theses written about the themes of Star Wars and all of the brilliant things John Williams does. I don’t have the technical knowledge to write one, but I do appreciate what I have learned and noticed while listening to the soundtracks. So, “Anakin’s Theme.” It’s a beautiful, hopeful sounding piece of music, full of the promise and potential of this sweet kid from Tatooine. But there’s something darker lurking both in the child and in the song.

M: I love the sort of unsettled nature of the tune. Despite how intensely melodic the song is,  it’s hard to break up into segments. The notes carry into each other, rather impressionistically (Think Debussy). But at the very end of the melody, those notes tumble into the notes of “The Imperial March.”

K: Not, it should be noted, as sinisterly as the theme appears throughout the OT. It’s a lot gentler, easier to miss. But it’s a reminder of the approaching inevitable.

M: Once you hear those last few notes and make the connection to “The Imperial March,” it’s hard not to have that mood flavor the entirety of the song. Its unsettled nature, as well as the struggle between the upwardly moving melody and the melody’s inevitable fall  at the end of the tune… it all comes down to those last few notes.

K: It mirrors Anakin in the prequels as well–trying to rise but eventually being dragged down to the Dark Side.

M: But it doesn’t stop there. We get to hear the Imperial March throughout Anakin’s fall, as well as in The Clone Wars.

K: I was surprised, listening to the prequel soundtracks, at how sparingly John Williams actually uses the Imperial March. It pops up only at the darkest points in Anakin’s fall, highlighting the big turns in his journey to darkness. And even then, it’s usually pretty subtle. For example, when Anakin slaughters the Tusken Raiders in revenge for his mother’s death, the Imperial March plays not over the shots of Anakin slashing with his lightsaber, but over the scene where Yoda feels his rage and distress in the Force. It also appears in AotC in its less-widely-used function as the theme of the Galactic Empire–as Chancellor Palpatine and select senators look out over the gathered clone troopers and the new battleships of the Republic (so eerily reminiscent of stormtroopers and Star Destroyers respectively) we get that melody again.

M: I love that it isn’t used blatantly in the prequels for two reasons: First, I think it’s important that Anakin is not yet Vader. They’re not one and the same person, hence Obi-Wan insisting that Anakin Skywalker was killed when Vader was created. Not using it oppressively gives Anakin the constant chance for redemption–it’s really not until the end of RotS, when he rises as Lord Vader, that he has completely become that character. Second, it is used so liberally in ESB and RotJ when Vader’s presence and power is a constant. This in contrast to RotS, when Anakin potentially could have avoided becoming Vader. By the time the OT rolls around, the March is unavoidable, drowning out many of the other themes once it arrives.

K: The OT Imperial March is so great. It can be bombastic and in-your-face as it comes striding down a corridor, or it can jump out and surprise you.Going back to your point about using it sparingly in order to emphasize that Anakin isn’t Vader, let’s talk about Clone Wars!

M: GAH, literally my (and I think your) favorite moment in The Clone Wars is in the episode “Voyage of Temptation” (S2 E13). Obi-Wan and Satine are caught in a pickle… this crazy senator dude, Tal Merrick, is holding a detonator that will explode the ship they’re on, but neither Obi-Wan or Satine can bring themselves to kill the man. Merrick says “Who’ll strike first and brand themselves a cold-blooded killer?” Obi-Wan and Satine both hesitate… and BAM, the guy gets stabbed in the back by Anakin, who seems completely unaware of the implications of the situation. And in the background…

K: Duh duh duh DUN DA DUN, DUN DA DUN. We could write a whole other post about that moment, because it is my favorite of all time, but the use of the Imperial March there…gosh. Painful. The same sort of thing happens a few times throughout the show–any time Anakin drifts toward the Dark Side, that theme lurks in the background, reminding us of what’s to come.

M: Honestly, it’s a bit of a killjoy in that it’s this little reminder of the tragedy to come… Anakin will cease to be himself and will turn into Vader instead.

K: Thanks a lot, show–can’t just let us pretend that it’s all going to turn out fine, oh no. Interestingly, when Anakin really does fully commit to becoming Vader in RotS, the Imperial March still isn’t used nearly as heavily as it is in the OT. Probably because RotS is meant to show the absolute tragedy that is Anakin’s Fall, and the Imperial March is so entwined with this idea of Vader as a terrifyingly powerful force of evil.

M: I mean, it’s a march. It has this confidence and ruthlessness and drive to it that isn’t yet appropriate for Anakin. He’s not at ease with that level of evil until his transformation is complete and he leaves behind all traces of his former life.

K: But by the time we reach the era of the OT, the music fits perfectly with Vader’s persona. He is completely relentless and unstoppable, just like the rhythm of the march.

M: OOOH, which is why I love the little snippet of the March we get in RO. We don’t really hear it until the very end, when Vader has boarded the Rebel Cruiser and is watching the Tantive IV fly away, cape billowing in the “wind” (wind doesn’t exist in Space, obvs a bit of Vader using the Force to be extra), the literal definition of BADASS.

K: Dang, that Vader scene is still the coolest, most breath-taking (in the literal sense) 45 seconds I have ever seen on a theater screen.

M: *SHINK* Red lightsaber glows in the darkness as we listen to the same alarm sound from ANH… I DIE, we must change subjects before I talk about this all night. Back to the March in RO, I love that we only hear it, really, at the very end. We hear a few bars of it in the “Do not choke on your aspirations” scene, but using it in its full glory only at the end lets the audience know that the best/worst is yet to come… Vader is just getting started (additionally, this reflects the absence of the March in ANH). Also, I feel I must insert a word for Rebels here, which uses the March in a more Rogue One fashion (except for when they make it major during the Empire day celebrations?! Weird?!). He’s a mystery… scary, but not yet a direct threat to the entire galaxy.

K: I also like that, I think it works best to give the March its biggest and best incarnations during the movie that features everything going Vader’s way (well, until his son jumps down a death shaft rather than join him in ruling the galaxy): The Empire Strikes Back.

M: Exactly. And in ESB the March is kriffing everywhere. Every time we see an Imperial ship, every time we see Vader. I love how larger than life this makes Vader feel. And honestly, at this point, the gang don’t know what exactly they’re facing. They’re only now realizing how big of a problem he is.

K: And once they realize it, there’s no escaping it. Suddenly, Vader is everywhere: hunting the Millennium Falcon through an asteroid field, appearing to Luke in a creepy tunnel on Dagobah, even sitting casually in a dining room in Cloud City. And his theme comes everywhere with him.

M: I especially love it in “The Battle of Hoth,” mostly because that’s one of my favorite tracks, but also because even amidst the thrumming of the AT-AT’s theme, the March STILL manages to be the scariest and most bombastic tune in the suite.

K: Gah so good. But, if the March manages to completely take over ESB, it has a much more complicated life in RotJ. It starts out as the same powerful theme, playing over Vader’s and later the Emperor’s arrival on the Death Star 2.0. But things are less clear to Vader these days. And his theme doesn’t always pound out confidently the way it used to. In particular, I’m thinking of the scene where Luke is brought to Vader on Endor. The Imperial March as we usually think of it IS present in the scene, but there’s this whole other section where bits and pieces of the March try to assert themselves only to disappear into the other melodies.

M: I think it’s a signal… Vader isn’t going to be Vader for much longer. It has less surety, more hesitance.

K: VADER isn’t sure anymore. Not sure about the Emperor, not sure about his decision to embrace the Dark Side, not sure what to think about his son–his son, who is insisting that there is still good somewhere inside of that black shell. It’s the Emperor’s theme, not the Imperial March, that takes center stage when Luke and Vader duel–it’s the Emperor Luke truly has to defeat, not his father. Which brings us to the last, really beautiful use of the Imperial March, during Anakin and Luke’s final conversation. As Luke helps his father take off his mask (literally and figuratively shedding Vader), a really high, haunting version of the March plays.

M: It sounds full of regret… just an echo of Vader’s evil and, really, the person he used to be. But also, and I’m just going to go ahead and assume John Williams did this on purpose, it sounds like Anakin’s Theme, especially with the harp at the very end.

K: Yes! It’s got that melodic quality again.

M: And because Vader has become Anakin again, Luke finally gets to meet his father.

K: *gross sobbing* Once it plays over Anakin’s death, the theme does not appear again. Instead, when Luke burns his father’s body we get a powerful version of the Force theme, and I cry and cry…

M: Vader is no more! Anakin is one with the Force. *weeps* Praise the space conflicts.

K: And praise John Williams for scoring them.

May the 4th Be With You

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It’s Star Wars Day! To celebrate, we have each made lists of moments that make us happy from each of the Star Wars movies. May the 4th be with you!

K

TPM: I love Obi-Wan’s face at the end because everyone else is smiling and triumphant while Obi-Wan is finishing the movie the way he started it—with a bad feeling about this.

AotC: I love the scene in the droid foundry when Anakin’s arm is stuck and there are blades chopping all around him because it seems like he’s going to lose his hand a la Luke in ESB, but that doesn’t actually happen until later.

RotS: I love the way the music goes away and it’s completely silent right as the mask goes over Anakin’s terrified face and then…the first Vader breath. Chills.

RO: I love the sight and sound of Vader’s lightsaber igniting in the black hallway. I think I stopped breathing in the theater.

ANH: I love Leia saying “Somebody’s got to save our skins,” because she’s supposedly the one being rescued and then she rescues her rescue party. Anyone who says Leia is a damsel in distress is just so, so wrong.

ESB: I love the tiny moment when Lando has to physically drag Leia away from shooting stormtroopers during the escape from Cloud City. She is going to make the Empire pay for taking her boyfriend, so help her Force.

RotJ: I love when Luke does a flip off the execution plank, catches his lightsaber, and just kriffing wrecks Jabba’s henchmen. It’s his biggest Jedi moment in the original trilogy and I cheer through the whole thing.

TFA: I love the way the Force theme swells when the lightsaber goes shooting into Rey’s hand. I about stood up and clapped the first time I saw this scene.

 

M

TPM: Padme: “The Queen will not approve.” Qui-Gon: “The Queen doesn’t need to know.” Padme: “Well I don’t approve.” He’s a troll, she’s a queen, it’s a great moment. Bonus points: the knowing look Qui-Gon and Obi-Wan share just after Padme reveals her identity.

AotC: Obi-Wan getting a drink after the chase on Coruscant. Never fails. I laugh every time.

RotS: So many feels in this movie, almost chose “You were my brother Anakin, I loved you.”  but we’re celebrating so I’m going to go with the moment when Obi-Wan wakes up to find he’s hanging from Anakin in an elevator shaft. I just love how big his eyes get and how he bear hugs Anakin.

RO: UH WHAT ELSE I love Vader igniting his lightsaber in the dark hallway. But, since K already chose that… I’ll have to go with just a few seconds later when Vader force slams the rebel soldier into the ceiling. It’s the most Anakin we’ve seen Vader and it’s beautiful.

ANH: Luke standing beneath the twin suns, the force theme playing… just the most Star Wars Star Wars moment, and a kriffing beautiful shot to boot. It’s where it all began.

ESB: YODA. YODA. YODA. More specifically, Yoda’s Theme is my favorite piece of Star Wars music.

RotJ: This film has the best dolly-in in cinema history. It happens when the Emperor is electrocuting Luke– he’s obviously going to lose or die if something doesn’t happen soon– and it cuts to Vader– and there’s this little dolly in. It’s this perfect moment that, because of the camera movement, projects so much emotion onto Vader’s mask. It’s the moment he returns to the light. The moment he decides to become Anakin again, and do the right thing– save his son! The whole series leads up to this moment, and it’s served, perfectly, by a dolly in.

TFA: Rey adding “and you will drop your weapon!” when she first does a Jedi Mind Trick.