For years, the Star Wars galaxy has felt strangely devoid of wonder. While some projects, like the grounded Andor, achieved a deliberate sense of realism, others like The Book of Boba Fett and Ahsoka stumbled, trapped in a frustrating lack of imagination. Even The Mandalorian’s third season and The Rise of Skywalker felt hampered by creative limitations. However, Lucasfilm’s latest Disney+ offering, Skeleton Crew, boldly changes this narrative. It’s a breath of fresh air, easily the most wondrous live-action Star Wars project in recent memory.
Created by Christopher Ford and Spider-Man: No Way Home director Jon Watts, Skeleton Crew unabashedly embraces its influences from 1980s adventure classics like E.T. and The Goonies. While the initial episode might feel slightly derivative, attempting to awkwardly integrate suburban imagery into the Star Wars setting, the series quickly transcends this early stumble. It blossoms into a pulpy, imaginative space pirate adventure unlike anything Lucasfilm has produced before. The second and third episodes, in particular, are both encouraging and exhilarating.
The story begins on the idyllic, isolated planet of At Attin, where young Wim (Ravi Cabot-Conyers), a Jedi-obsessed boy grappling with his absent workaholic father Wendle (Tunde Adebimpe), discovers a buried starship. Joined by his friend Neel (Robert Timothy Smith), Fern (Ryan Kiera Armstrong), the rebellious daughter of a high-ranking official (Kerry Condon), and her best friend KB (Kyriana Kratter), they accidentally reactivate the vessel, launching them into the vast unknown.
Their unexpected journey leads them to a starport teeming with ruthless pirates. There, they encounter Jod Na Nawood (Jude Law), an enigmatic Force-user whose allegiances are far from clear. The introduction of this character, masterfully portrayed by Law, injects another surge of energy into the already captivating narrative. The multiple names used for Jod, including the memorable “Crimson Jack,” add to the series’ intriguing and whimsical charm.
While the premiere struggles to seamlessly blend its Amblin-inspired elements with the Star Wars universe, the subsequent episodes, directed by David Lowery (The Green Knight), rectify this. These episodes excel not by mimicking Americana sci-fi but by fully embracing the fantastical, Treasure Island-esque possibilities of the story. Lowery’s distinct visual style, shared by other acclaimed directors like Daniel Kwan and Daniel Scheinert (Everything Everywhere All at Once), Jake Schreier (Thunderbolts), Bryce Dallas Howard (The Mandalorian), and Lee Isaac Chung (Minari), elevates the series to new heights.
Skeleton Crew boasts an impressive directorial lineup, ensuring a consistent high standard of production value. Unlike some previous Star Wars projects, the show is free of distractingly shoddy VFX and muddy backgrounds. Its visual polish surpasses all other Star Wars shows except Andor, creating a truly immersive experience. The dedication to detail is evident in every set and digital environment, drawing the viewer into the richly detailed galactic underworld.
While there’s always a possibility the series could falter by its conclusion, the current trajectory is undeniably promising. The young cast delivers a compelling mix of stiff formality and endearing vulnerability. The occasional childish arguments between Wim and Fern may feel simplistic for some viewers, but the series deftly avoids veering too far into strictly YA territory. Instead, it captures the fun-for-all-ages spirit of classic Star Wars, blending lighthearted adventure with genuine emotional depth, reminiscent of George Lucas’ original vision.
Skeleton Crew’s strength lies in its ability to conjure the awe-inspiring magic of sci-fi fantasy. Drawing from various sources, it manages to create a unique Star Wars adventure we haven’t seen before. It has the potential to rekindle the love for Star Wars in both longtime fans and new viewers alike. Star Wars: Skeleton Crew premieres December 2nd on Disney+, with new episodes every Tuesday at 6 p.m.
