The doubt of doing the right thing revolves in the progression of what is being fought for. Like the last episode “Deal No Deal”, Episode 7 of the Final Season of “The Clone Wars” entitled “Dangerous Debt” borrows in the movement of what Ahsoka Tano needs to prove and what her path is. While there are some interesting moments, the story drags a little. Perspective for the most part is needed. This shows at one point in understanding the inclusion of the sisters Martez that Ahsoka now finds herself with. The interesting thing that the writing does here is place a previous event which might have been fleeting to other characters before that in a split second changes the perception elsewhere. The problem is that the moment in the episode could have had much more resonance. There is less soaring cinematics here than one would think. There is definitely room for them but unlike early episodes it seems to be rushing the story back and forth quickly when it doesn’t need to.
The true story we want to watch is Ahsoka’s pull versus and against for using The Force. That is the true existential element here but 3 episodes into her arc in this season, it is not emotionally tugging enough. Ahsoka is very smart. She left the Jedi Order for a reason. But watching people fail even though the instinct is to help is an interesting quandary. We need to see more of that. It is in this case that flashbacks, even briefly would be acceptable, even for an ardent follower of the show. “Dangerous Debt” refers to a shipment of spice that Ahsoka’s new friends dumped impulsively that lands them on a prison planet under criminals. There is an interesting small story point playing with a voice that sounds all too familiar but the time frame is all wrong. There is a plan for Ahsoka but it would be interesting to see a little bit more of those quiet moments balanced with the awe sometimes Star Wars has.
By Tim Wassberg
The paranoia of mystery depends how bathed the characters are in guilt versus survival. With the episode “We’re Not Getting Away With It”, “How To Get Away With Murder” uses the aspect of who is smarter. Granted the aspect of people working behind the scenes has always been a part of the game that is being played. The interesting purveyor here is letting the doubt sow while very smartly highlighting Viola Davis as Annalise only briefly. The aspect of her physical change is undeniably (perhaps she was starring in a movie at the same time) but that idealism shift is supposed to reflect the turning of the screw. Everyone in this series has their intentions but most seem on the level save for someone who skirted the edge of hard core ethics and a student that doesn’t seem in his right mind. The best aspects within the redemption inherent in a series is the notion of sacrifice. However that progression needs to mean something. Everyone, as the dominoes fall and people start to try to see sides, comes down to the element of selfishness with glimmers of both hope and betrayal. The important detail in this episode is how many lines in key moments are not answers, not denials but not admittance either. In the course of rebuilding a crime that they are at the center of, the team interestingly enough is disjointed which is the whole point. It is just a matter of what Annalise ultimately actually wants to do.
By Tim Wassberg