Entertainment
Ahsoka Premiere Embodies the Best of Star Wars: Our Review on August 23, 2023 at 3:14 pm The Hollywood Gossip

On Wednesday morning, Ahsoka‘s two-part premiere released on Disney Plus.
This series follows the immensely popular character, Ahsoka Tano, who first appeared in the Star Wars: The Clone Wars animated film in 2008.
She has come a long way since she was Anakin Skywalker’s young Togruta Padawan. She has since appeared on Star Wars Rebels and The Mandalorian.
Fans have spent 15 years feeling invested in Ahsoka. Are we getting the emotional payoff that we deserve, wrapped up in a solid story and thoroughly grounded in the broader Star Wars universe?
Ahsoka Tano finds herself in a long-sealed chamber in an ancient temple. It may be the work of Nightsisters, but seems eerily reminiscent of Zeffo architecture and motifs. (Disney Plus)
Yes. The show is genuinely fantastic, and feels like the kind of Star Wars that we’d expect from a master like Dave Filoni. So far, anyway. We’ve only seen the first two episodes. There will be at least six more.
Before we delve into this series, which takes place more or less around the year 10 ABY (roughly), let us warn you:
This THG review is filled to the brim with Ahsoka spoilers. Not for the rest of the season, but certainly for the two-part premiere.
The talented Mark Rolston portrays Captain Hayle aboard a New Republic vessel, transporting a familiar prisoner. (Disney Plus)
We start off with some breathtaking starships, both outside and in. The Sequel Trilogy established that the New Republic exists, but did little to show it before wiping it out.
But excellent series like The Mandalorian and now Ahsoka have picked up the slack, showing us the people, the ships, and organization that replaced the Galactic Empire.
During Ahsoka‘s cold open, Captain Hayle and his ship are transporting a prisoner who first appeared on The Mandalorian.
Captain Hayle and his security escort enter the hangar bay, where they receive a decades-old Eta-class shuttle. This model was popular during the days of the Republic before the Empire, and Jedi often made use of this type of craft. (Disney Plus)
The moment that we see the ship, we can guess that it will not make it to its destination. But this isn’t a firefight — not in space, anyway.
Instead, there is a subtle callback to Return of the Jedi‘s use of an Imperial shuttle and an old-yet-valid clearance code. This time, it’s an Eta-class shuttle, which dates back to before the Empire.
The show wisely avoids repeating “it’s an older code” despite the overlay of events. Overusing lines, especially memes, can become cringey.
One of the many refreshing and wonderful details in Ahsoka’s two-part premiere was the presence of non-Humans. In addition to main characters like the titular character and Hera Syndulla, we see a random security officer who is Mon Calamari. (Disney Plus)
Additionally, Captain Hayle is no fool. He doesn’t believe that these interlopers are Jedi, and he greets them with a full security escort.
One of Andor’s few real shortcomings is that, despite the great storytelling, the show contains an almost entirely Human cast of characters.
Ahsoka does not. Even random background characters might be Rodians, protocol droids, or in this case, a loyal Mon Calamari serving the New Republic.
Captain Hayle meets with someone who he assumes to be an extremely bold con artist or a simple Imperial Remnant. Unfortunately for him, Baylan Skoll is neither. (Disney Plus)
Portraying Captain Hayle is a small but rich role for Mark Rolston, who is a live action and voice acting veteran of decades. He’s been on everything from Murder, She Wrote to Babylon 5 in the ’90s.
Much of his recent work has been voiceover. He is spectacular as smooth-talking villains like Young Justice‘s Lex Luthor and Spider-Man PS4‘s Norman Osborn.
Here, he plays a smart, competent New Republic captain who, understandably, could never have predicted how this would go.
At the bidding of her master, the determined and enigmatic Shin Hati dispatches the New Republic security team with alacrity. Good for her. (Disney Plus)
Baylan Skoll and Shin Hati are not familiar characters. Their names, their orange lightsaber blades, and backstories are all unfamiliar.
However, they are not con artists. Both display skill in using the Force to deal out incredible violence.
While Shin Hati easily massacres the security officers, Baylan Skoll waits patiently. He also prevents Captain Hayle from becoming involved. Then, he kills them.
Baylan Skoll prevents Captain Hayle from taking action during the Ahsoka cold open. (Disney Plus)
Creating a Star Wars villain is extremely tricky. There is always going to be a temptation to recreate Darth Vader, but that is not reasonable.
We think that we can reasonably say that Kylo Ren was a failure as a villain. His fans might agree, because many of them do not consider him to be a villain. His detractors simply consider him a pale, weak imitation. Arguably, that was the point.
Baylan and Shin are not going to be Darth Vader, or Palpatine, or Asajj Ventress. They don’t have to be. They are mercenaries and underlings, which gives them room to be interesting without the pressure of assuming Lord Vader’s mantle.
The late, great Ray Stevenson passed away in May of 2023. This makes his portrayal of Baylan Skoll on Ahsoka his final role. (Disney Plus)
There is a bittersweet element to watching Baylan slaughter these New Republic forces, and it’s not sympathy for those in his path.
Portraying Baylan Skoll was Ray Stevenson’s final role.
After a long and storied career as an actor, he passed away earlier this year. This season is dedicated to him.
Morgan Elsbeth is one of the best conceivable names for a Human who is, or at least was, a Nightsister of Dathomir. We do not know her whole story, but she first appeared and became a prisoner on The Mandalorian’s second season. (Disney Plus)
The Mandalorian viewers will remember Morgan Elsbeth from Season 2, which was also Ahsoka Tano’s first live-action appearance.
At the time, this Human antagonist stood out the most for her possession of a beskar spear. Din Djarin would later wield that weapon against Moff Gideon.
She is the prisoner whom the late Captain Hayle and his similarly deceased crew were transporting. When Baylan arrives, it is quickly Morgan who is giving orders. She seems to be the one paying him.
Ahsoka Tano holds an ancient star map. This is not Jedi design or Sith, but the work of someone — or something — else. (Disney Plus)
After the cold open, Ahsoka is exploring an ancient ruin on the planet Arcana. She is following a lead that she previously extracted from Morgan.
Among the ruins, which bear a number of motifs with striking similarities to the Zeffo ruins in Jedi: Fallen Order, Ahsoka finds the premiere’s MacGuffin. It’s a sphere, a puzzle, and a star map.
Calling it a MacGuffin isn’t a criticism. Many of the greatest stories in history contain these elements. MacGuffin is simply the word for these objects.
Ahsoka Tano warns off her ill-advised attackers, presenting one of her lightsabers. Notably, she built these blades during Imperial rule, killing an Inquisitor who attacked her and healing the kyber crystals of his weapon — turning them from red to white. (Disney Plus)
Naturally, Ahsoka emerges after finding the hidden chamber and solving its puzzle to find five HK-87 assassin droids waiting for her.
She presents her lightsabers, which is actually a point of criticism for some reviewers. See, it’s light out, and her lightsabers are white.
While the color contrast isn’t ideal, we’re unsure of what these critics would suggest. Should every fight take place at night? Or should showrunners have randomly changed Ahsoka’s blades to another color?
Both Jedi: Fallen Order and Jedi: Survivor received widespread acclaim for their faithfulness to the whole and breadth of Star Wars canon. Jedi: Survivor became the first on-screen demonstration of how a user of the Dark Side turns their kyber crystal red in order to wield a red lightsaber. The process is known as “bleeding” the crystal, and Dagan Gera horrifies Cal Kestis when he does this. (EA/Respawn)
No, this screenshot is not from Ahsoka, but from Jedi: Survivor. Because it shows the bleeding of a lightsaber’s kyber crystal.
Years after the fall of the Republic, one of the Empire’s Inquisitors faced off against Ahsoka. It was his last mistake.
An unarmed Ahsoka easily killed him. She took the two red crystals from his shattered blade and healed them. Healed kyber crystals turn white, and produce white blades.
A group of five HK-87 assassin droids attempt to ambush Ahsoka Tano. It’s a great time to remember that, in the Star Wars universe, any and all droids can experience emotional distress, fear, and even physical pain. (Disney Plus)
Ahsoka is a master of combat with few rivals. Even as a young Padawan, she survived two encounters with General Grievous. Grievous had killed numerous Jedi, including members of the Jedi Council. But not Ahsoka.
After leaving the Jedi Order, Ahsoka faced and defeated Darth Maul on Mandalore. Later, she would face off and hold her own against Darth Vader, her former master. She didn’t win, but she did injure him.
Some critics have questioned why none of Ahsoka’s enemies seem to be a match for her. We would ask what else they expected. There are many ways to tell a compelling story, and not every protagonist has to be an underdog.
Aboard a T-6 shuttle, Ahsoka Tano greets Huyang. This ancient droid has served the Jedi Order for centuries. Ahsoka is no longer a Jedi, but he remembers when she was a Padawan. David Tennant reprised his role as Huyang, having also voiced him on Star Wars: The Clone Wars. (Disney Plus)
Huyang, who first appeared on Star Wars: The Clone Wars, has returned. This ancient droid has been helping Jedi Padawans construct their lightsabers for an extremely long time.
Here, he is simply doing his best to serve the no-longer-existent Jedi Order. Even though Ahsoka left the Order well before Order 66.
David Tennant has once again done an extraordinary job in voicing this character. He provides comedic relief, a wonderful contrast to Ahsoka’s more determined energy.
Mary Elizabeth Winstead portrays the live-action version of General Hera Syndulla on Ahsoka. (Disney Plus)
Speaking of returning characters, Hera Syndulla is back. One of the leads from Star Wars Rebels‘ ensemble cast, she is now a General in the New Republic.
Mary Elizabeth Winstead had big shoes to fill, but she pulled it off very well.
Some critics have complained about her color contacts. That’s just the color of Hera’s eyes.
While viewing a holo-recording of Baylan Skoll and Shin Hati, Ahsoka Tano and General Hera Syndulla discuss the mystery of Grand Admiral Thrawn. (Disney Plus)
Those of us following news of the show with bated breath already knew that this show would likely be a search for Grand Admiral Thrawn and for Ezra Bridger.
But for those who weren’t aware, Hera and Ahsoka’s conversation brought them up to speed. Many assumed that both of them died at the Battle of Lothal, but Imperial Remnant activity suggests otherwise.
If Thrawn is alive, perhaps Ezra is, too. Meanwhile, Hera suggests that Ahsoka should visit an old friend, Sabine Wren. The fellow Star Wars Rebels alum is also living on Lothal.
Lothal was a central location for Star Wars Rebels, particularly during the first and final seasons. Seeing portions of the planet come to life with an actual budget on Ahsoka was truly beautiful. (Disney Plus)
It is nothing short of breathtaking to see what Lothal looks like with an actual budget.
For those unfamiliar, Clone Wars seems to have had a budget of “anything George Lucas is willing to pay for.”
When Disney bought the rights to Star Wars, they did not initially see the value in investing in top-tier Star Wars television. Star Wars Rebels‘ visual design and animation suffered for it. It is a very good thing that this has changed.
Clancy Brown is a veteran actor of live action and voice. He portrayed Governor Ryder Azadi in voice on Star Wars Rebels and in live action on Ahsoka. (Disney Plus)
If you saw “Clancy Brown” trending on the remnants of Twitter on Wednesday morning, this is why.
He reprised his role from Rebels. No longer a rebel leader or a political prisoner, Ryder Azadi is now governor of Lothal.
Behind him, you can see Humans and Aliens alike. And behind them, a very important mural.
Natasha Liu Bordizzo took on the role of Sabine Wren’s live-action debut on Ahsoka. Embodying this colorful, rebellious Mandalorian was no small feat. (Disney Plus)
Sabine Wren is a no-show.
We cannot think of a better way to introduce this character to people who never saw Rebels than to show her skipping a ceremony and also escaping from some cops.
Sabine is actually a Mandalorian from a prominent family. She is also a brilliant inventor and a talented artist. And there’s even more to her than we knew.
Sabine Wren was living in Ezra Bridger’s former home on Lothal. To the delight of fans, she also has a pet Loth-cat. (Disney Plus)
Living in the tower where a teenage Ezra Bridger squatted before joining up with the Ghost’s crew, Sabine is unable to move forward.
Clearly, she feels that she failed Ezra. And there’s clearly more to it than that.
Rebels ended with, among other things, Ahsoka and Sabine embarking upon a journey to find Ezra. They did not succeed.
This holo-recording of Ezra Bridger could exist as much to mislead viewers as it does to explain Sabine’s lost friend to viewers who have not seen Star Wars Rebels before watching Ahsoka. (Disney Plus)
A lot of us have been donning our electrum hats about Ezra.
Fan theories range from Ezra being Thrawn’s enemy to Thrawn truly being dead, with Ezra posing as him to rule the Imperial Remnants from afar.
That would be effing amazing. But it’s hard to imagine his character going all Grand Admiral. Alas.
Morgan Elsbeth is a Human, but she was also a Nightsister of Dathomir. On Ahsoka, she explains that she is a “survivor,” meaning that she escaped the carnage of General Grievous’ genocidal campaign against Mother Talzin and the Nightsister clan. (Disney Plus)
Meanwhile, Morgan Elsbeth is back in a more dignified wardrobe. It does resemble a watered down version of Mother Talzin’s regalia.
She discusses her backstory as a Nightsister, and hands out orders to Baylan and Shin and also to Inquisitor Marrok.
The Grand Inquisitor and Darth Vader himself trained the Inquisitors, but they are not true Sith. It is a bit of a surprise to see that one survived the fall of the Empire, but we doubt that Marrok is long for this world.
Ahsoka Tano and Sabine Wren come face-to-face on Lothal. Given the tensions, it seems that they have not seen each other in a long time. (Disney Plus)
Here’s where one of the bigger mysteries for fans is: what went down with Ahsoka and Sabine?
It sounds like Ahsoka trained Sabine, not merely in lightsaber combat (Sabine did wield the darksaber for a time on Rebels). She was her Padawan?
The two-part premiere only lightly touches upon Sabine’s tenuous-at-best connection to the Force. We expect to learn more as the show continues.
The presence of this wall art on Ahsoka Tano’s T-6 shuttle seems to indicate that Sabine Wren was living and sleeping there for weeks, months, or even years. (Disney Plus)
Their meet-up feels a lot like they’re ex-girlfriends. A lot of people really ship that and we’d love to see that play out.
Did a personal relationship interfere with their relationship as mentor and pupil? Or did the opposite happen?
Or maybe they’re just throwing a few crumbs for shippers. That said, very few Star Wars fans see Ahsoka as straight, so … we’ll see.
Sabine Wren is able to unlock the mysterious star chart, though she does it on her own terms. Classic, brilliant Sabine. (Disney Plus)
Even though Sabine agrees to look at the mysterious little orb, she does it her way. That is, she swipes it and takes it home.
This is where she solves the puzzle, uncovering the star map that seems to lead from their galaxy to another.
That’s a big deal for Star Wars, where we’ve never seen anyone explore another galaxy — not in canon, anyway.
When HK-87 assassin droids attack Sabine Wren, she quickly displays that she doesn’t need her Mandalorian armor to defend herself. It sure would help, though. (Disney Plus)
Unfortunately, this is also where a group of HK-87 assassin droids find Sabine.
Shin Hati sent them.
And while Sabine can defeat them, one gets away with the star map. And chasing him down leads Sabine to face a real threat.
Sabine Wren draws Ezra Bridger’s former lightsaber, but Shin Hati has one of her own. (Disney Plus)
The green lightsaber that Sabine wields belonged to Ezra Bridger. It was his second, but he left it behind.
She has since modified it. And she received training — from the late Kanan Jarrus and then from Ahsoka Tano.
But her training is incomplete. Her spectacularly choreographed fight with Shin Hati makes that clear.
Though Sabine Wren has received lightsaber training from one of the greatest duelists in Galactic history, she finds herself outmatched by Shin Hati. At least, during their first encounter. (Disney Plus)
Social media users have commented that this fight made them feel downright “feral.” And you can see why.
Shin has a specific sort of determination to her. She’s more than just bangs and a lightsaber.
Unfortunately for Sabine, she’s also very skilled with that lightsaber. Certainly not a match for Ahsoka, but Sabine is another matter.
Shin Hati drives her orange lightsaber blade through Sabine Wren’s torso during the chilling end of the premiere episode of Ahsoka. (Disney Plus)
The first episode of the premiere ends with her running that orange blade through Sabine’s body.
She misses her spine or her heart. And, frankly, characters like Vader and Maul have survived much worse.
But, had it not been for the second episode, most viewers would have spent a week wondering if this show cast Sabine just to kill her off immediately.
Sabine Wren awakens while a medical droid attends to her. Ahsoka Tano has clearly kept vigil by her side. This is good news for fans, and also excellent fodder for shippers. (Discovery Plus )
Not so.
The second episode shows Sabine recovering, under the care of a medical droid and under the watchful eye of Ahsoka.
She’s not fully healed, yet. But she’s awake and can tell Ahsoka, and a hologram of Hera, what happened.
Baylan Skoll and Shin Hati have the star map and arrive at an ancient Nightsister site. (Disney Plus )
Meanwhile, Baylan and Shin have the map and are on Seatos.
It’s so, so nice to see new planets that are not deserts. That said, we’d really love to see more fantastical worlds. Take us to Umbara, please.
Anyway, they don’t have the expertise to use the map to its full potential. Their employer does, however.
Conscious and recovering, Sabine Wren examines the head of an HK-87 assassin droid that unwisely attacked Ahsoka Tano. Her goal is to extract memory files to find its point of origin. (Disney Plus )
Despite her injuries, Sabine is still a mad genius. Ahsoka finds a surviving HK-87 assassin droid and instantly beheads it. Sabine tries to access the droid’s memories.
This is a wonderful callback to established canon. The Republic forces tried something similar with various battle droids and strategy droids during the Clone Wars.
This risky maneuver tells them that the droids came from Corellia, the location of the New Republic shipyards.
Morgan Elsbeth demonstrates her Nightsister teachings, as her mystical power manifests in this stunning green flame below the star map. (Disney Plus )
Meanwhile, on Seatos, Morgan uses Nightsister mysticism — their witchcraft is similar to Sith sorcery, but not the same.
She unlocks the map in full, showing a grand and very well-designed map of the cosmos.
There are even astrological symbols. She says that this map comes from another place far away — another galaxy.
Thanks to Morgan Elsbeth’s art, the star map unlocks a hyperspace corridor leading to The Far Galaxy — a place of legend among the Jedi. (Disney Plus )
This is where, she claims, Grand Admiral Thrawn — the brilliant Chiss strategist and looming specter over the New Republic — is living. She wants to bring him home.
Here’s where it’s really interesting: Morgan claims that she can “hear” Thrawn, as if through the Force.
Is she merely sensing him? Because Thrawn is not Force-sensitive. Another possibility is that someone else, be it Ezra or a more sinister figure, is impersonating Thrawn to lure Morgan there.
Peter Jacobson portrays Myn Weaver, who holds some sort of administrative position at the New Republic shipyards on Corellia. Here, we see Myn and what appears to be a masculine RA-7 protocol droid greet Ahsoka Tano and General Hera Syndulla. (Disney Plus )
Ahsoka travels to Corellia with General Hera Syndulla. You can get a lot of things done much faster with a New Republic bigwig by your side.
They quickly uncover that some of these salvage and construction operations are not authorized. What are they doing with hyperdrive cores so large that no New Republic ship could use them?
After dealing with a few traitors, Ahsoka takes off to stop an SSD Hyperdrive core from launching. But she runs into Inquisitor Marrok.
Ahsoka Tano’s pursuit of the SSD Hyperdrive Core leads her to Inquisitor Marrok and an HK-87 assassin droid. (Disney Plus)
Obviously, she’s not going to die by this goon’s hand.
She’s killed Inquisitors before. Unarmed, even.
But as we mentioned, she doesn’t need to be an underdog. And he doesn’t need to win. All that Marrok has to do is slow her down long enough for the drive core to launch.
Onboard the Phantom, General Hera Syndulla pursues the runaway SSD Hyperdrive core as it tries to escape from Corellia. Fortunately, she is no stranger to dodging blaster fire. (Disney Plus)
Hera is one of the best pilots in Star Wars, and we see her piloting the Phantom — a smaller craft that detaches from the Ghost, her main ship.
So she pursues the ship, taking fire without returning it. Hera explains that she can’t risk this crashing and exploding on the population below.
Even though her homicidal astromech, Chopper, really wants her to open fire.
Chopper is an astromech, who has now appeared in live action in Rogue One and now on Ahsoka. Though he has never operated a Death Star or similar superweapon, many fans believe that he has one of the highest body counts in Star Wars canon. This little orange trash can delights in chaos and murder. (Disney Plus)
Dave Filoni reprised his role of voicing Chopper.
He’s one of those droids where you can’t understand what he’s saying, but you always get the vibe. The vibe is often very rude.
Anyway, Chopper manually throws a tracking device onto the ship before it makes the jump to lightspeed. Spectacular Star Wars.
Ahsoka Tano can easily hold her own against Inquisitor Marrok and the HK-87 droid. Unfortunately, they are still able to delay her before she can prevent the SSD Hyperdrive core’s takeoff. (Disney Plus)
On the ground, Ahsoka seems to be mostly just annoyed by Marrok and the HK-87 assassin droid.
But Marrok has done his job.
After she destroys his droid, his goal is simply to escape. That’s unusually smart for a faceless enemy.
Ahsoka Tano easily avoids Inquisitor Marrok’s spinning lightsaber on Corellia. (Disney Plus)
Shin Hati is there, but she wisely does not try to engage Ahsoka.
We know that Baylan has no desire to face Ahsoka. Perhaps he believes that he can kill her, and simply fears losing one of the few survivors of the old Jedi Order.
He was a Jedi. When the Republic fell, he became a mercenary. We can judge him, but hey, he survived! Really interesting guy. Definitely a dark foil to Obi-Wan.
Ahsoka Tano is not only a skilled combatant, but she is strong in the Force. These two factors, combined with years of experience, help her to easily sidestep Inquisitor Marrok’s spinning lightsaber as it returns to his hand. (Disney Plus)
We see some sort of massive hyperspace-related device, though it’s unclear if it’s an engine or some sort of gate. Morgan is building it, but it’s still under construction.
Now they have the map, and she has big plans. Shin, for now, is just following Baylan’s lead. It will be exciting to see how all of that plays out.
Sabine cuts her hair back to Rebels era length, and is ready to get back with Ahsoka. She touches the mural, just as she did in the Rebels finale. Her goal is to bring Ezra home. And we’re on the edge of our seats to see the next episode.
Ahsoka Premiere Embodies the Best of Star Wars: Our Review was originally published on The Hollywood Gossip.
On Wednesday morning, Ahsoka‘s two-part premiere released on Disney Plus. This series follows the immensely popular character, Ahsoka Tano, who …
Ahsoka Premiere Embodies the Best of Star Wars: Our Review was originally published on The Hollywood Gossip.
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Advice
Independent Film’s New Reality: 10 Brutal Truths You Have to Face in 2026

If you are still approaching independent film like it’s 2015, you are going to get crushed. The landscape that once rewarded a scrappy feature and a couple of festival laurels has become a crowded, algorithm‑driven marketplace where attention is the rarest currency. Recent industry analysis on “inflection points” for 2026 all say the same thing: the business model for independent film has changed, whether you like it or not.

1. You’re Competing With Everything
Your film is no longer just competing with other indie features. It is fighting for attention against TikTok clips, prestige series, and endless back catalog on every streaming platform. That means “pretty good” is invisible. You either have a sharp, specific audience and a clean logline, or you disappear into the scroll.
2. Festivals Are Not a Distribution Plan
A festival premiere and a few Q&As can help with credibility, but they are not a business strategy. Without a parallel plan—email list, community building, partnerships, and a clear path to paid viewers—you come home with a laurel and no deal. Even festival‑aligned organizations now frame their “don’t miss indies” coverage as part of a broader visibility and audience strategy, not a finish line.
3. The Middle Is Collapsing
Industry voices are blunt about it: micro‑budget genre films and clearly branded auteur work still find lanes, but the soft, mid‑budget drama with no hook is almost impossible to monetize. If your film cannot be pitched in one or two sentences to a specific audience, it will struggle regardless of how “good” it is.
4. You Are a Small Business, Not a Starving Artist
The indie filmmakers who will survive 2026 are treating their careers like businesses. Guides focused on creating a “film business turnaround” talk about lifetime value, repeat customers, multiple revenue streams, and audience retention—not just finishing one feature. Your filmography is a product line, not a lottery ticket.
5. SAG Is a Competitive Advantage
SAG actors and union rules are not your enemy; they are a way to level up. SAGindie and SAG‑AFTRA low‑budget agreements exist to help genuine independents hire professional talent and present themselves as serious, compliant productions. Understanding those tools gives you access to stronger cast, better reputations, and more credible pitches.
6. Streaming Is Not a Golden Ticket
Streaming is no longer the dream “one deal solves everything” outcome. The deals are leaner, the competition is brutal, and many filmmakers now make more by going direct‑to‑fan through TVOD, memberships, or niche platforms than by chasing a low‑MG all‑rights license. You need to know why you want a streamer—brand value, audience reach, or pure revenue—and plan accordingly.
7. Format Matters Less Than Relationship
Audiences care more about access than whether your project is a feature, series, or hybrid. If you give them a reason to show up repeatedly, they will follow you across formats. If you do not, a 90‑minute feature is just one more piece of content in an endless feed.elliotgrove.
8. Marketing Starts at Concept
Marketing is not something you “figure out later.” The most effective 2026 indies build their hook at the idea stage—title, poster, and logline are treated as core creative decisions, not afterthoughts. If you cannot imagine the trailer, one‑sheet, and social teaser while you are still outlining, that is a red flag.

9. Community Is Your Real Safety Net
Filmmakers who plug into networks, reading lists, and producer education hubs are adapting the fastest. They are not reinventing the wheel alone; they are leveraging shared knowledge, updated contracts, and peer feedback to make smarter decisions project by project.
10. Accepting Reality Is Your Edge
Here is the real brutal truth: if you can accept all of this, you gain an edge. Most of the field is still clinging to old myths about discovery, “overnight” success, and festival miracles. If you are willing to treat your indie career as a living, evolving business—grounded in current data and audience behavior—2026 might be the moment where “truly independent” stops meaning powerless and starts meaning in control.
Entertainment
Ozempic Era: Beauty, Lizard Venom, Big Pharma

The film industry is entering a new body era, and this time, the co-star is a syringe.
GLP-1 drugs like Ozempic, Wegovy, and Mounjaro have moved from diabetes clinics into casting conversations, red carpets, and agency strategy. In the United States, roughly 1 in 8 adults report having used a GLP-1 drug, with about 6 to 12 percent actively using one today. Globally, usage has surged from approximately 4 million people in 2020 to around 30 million by 2026.
This is no longer a niche health trend. It is a structural shift—one that is reshaping how bodies are constructed, perceived, and rewarded on screen.

At a clinical level, the appeal is clear. In major obesity trials, semaglutide has produced average weight loss of 15 to 17 percent of total body weight over 68 to 104 weeks, with some regimens approaching 19 to 21 percent for sustained users. In an industry built on transformation, those numbers carry real influence.
But rapid transformation leaves a visible trace. The phenomenon often called “Ozempic face”—hollowed cheeks, looser skin, a subtly aged appearance—reflects how quickly fat loss can outpace the skin’s ability to adjust.
For filmmakers, this is not just aesthetic—it is cinematic. Performance lives in the face. Micro-expressions, softness, and facial volume shape how emotion reads on camera. A performer may reach an “ideal” body while losing something less measurable but equally important on screen.
Beneath this cultural shift lies an origin story that feels almost written for film.
In the 1990s, researchers studying the Gila monster isolated a peptide in its venom called exendin-4, which mimicked a human hormone involved in blood sugar regulation but lasted significantly longer in the body. That discovery led to early GLP-1 drugs such as exenatide, used by millions of patients worldwide, and eventually to semaglutide.
By mid-2025, semaglutide-based drugs (including Ozempic and Wegovy) generated approximately $16 to $17 billion in just six months, making it one of the highest-grossing drug classes globally. Analysts project the broader incretin market could reach $200 billion annually by 2030.
Inside those numbers is a more complex human story.
The benefits are well documented: improved blood sugar control, significant weight loss, and reduced cardiovascular risk. But as use expands, so does scrutiny. Researchers and regulators are tracking side effects ranging from severe gastrointestinal issues and gastroparesis to gallbladder disease and pancreatitis, as well as rarer concerns such as vision complications and potential neurological signals.
At the same time, adoption continues to accelerate. J.P. Morgan projects roughly 10 million Americans on GLP-1 drugs by 2025, rising toward 25 to 30 million by 2030. At that scale, usage becomes ambient—part of everyday life across industries, including film and television.
And yet the marketing tells a different story. Pharmaceutical campaigns rely on cinematic language—aspirational visuals, controlled lighting, emotional transformation arcs—while legally required risk disclosures recede into fine print.
For independent filmmakers, this moment opens several narrative lanes.
There is the body: performers navigating an industry where a once-niche diabetes drug has become a quiet career tool.
There is the machine: a pharmaceutical ecosystem where a single drug category generates tens of billions annually, rivaling major entertainment sectors.
And there is the myth: a culture increasingly turning to a hormone-based intervention—derived from venom biology—rather than addressing systemic issues like food access, stress, and inequality.
Technology intensifies all of it. Ultra-high-resolution cameras and HDR workflows capture every detail—skin texture, volume shifts, micro-expressions. As more on-screen talent uses the same class of drugs, a new visual baseline begins to form, often without audiences realizing why.
There is also a clear economic divide. GLP-1 drugs can cost $800 to $1,000 or more per month without insurance in the United States, and coverage remains inconsistent. Rising demand has led to shortages and a parallel market of compounded or unregulated alternatives.

The gap between who can access consistent, medically supervised treatment and who cannot is becoming part of the story itself.
For cinema, the imagery is already there: the Sonoran desert, a Gila monster, laboratory research, pharmaceutical earnings calls, red carpets, and transformation narratives.
A compound derived from venom becomes a global product that reshapes not only bodies, but expectations.
Perhaps the most uncomfortable layer is the industry’s own role. Casting preferences, transformation culture, and unspoken aesthetic standards reinforce a pharmacological look without ever naming it.
No one explicitly instructs performers to take these drugs. The system simply rewards the results.
This is not a distant trend. It is a present-tense shift.
The numbers are rising. The images are changing. The influence is expanding.
The question is whether independent cinema will define this moment while it is still unfolding—or whether the story will once again be shaped by the industries profiting most from it.
Advice
How to Find Your Voice as a Filmmaker

Every filmmaker aspires to create projects that are not only memorable but also uniquely their own. Finding your creative voice is a journey that requires self-reflection, bold choices, and an unwavering commitment to your vision. Here’s how to uncover your style, take risks, and craft original work that stands out.
1. Discovering Your Voice: Understanding Your Influences
Your unique voice begins with recognizing what inspires you.
- Step 1: Reflect on the themes, genres, or emotions that consistently draw your interest. Are you inspired by human resilience, surreal worlds, or untold histories?
- Step 2: Study the work of filmmakers you admire. Analyze what resonates with you—their use of color, pacing, or narrative techniques.
Tip: Combine what you love with your personal experiences to create a lens that only you can offer.
Example: Wes Anderson’s whimsical, symmetrical worlds stem from his love of classic storytelling and his unique visual style.
Takeaway: Start with what moves you, then add your personal touch.
2. Taking Creative Risks: Experiment and Evolve
To stand out, you must be willing to challenge conventions and explore new territory.
- Experimentation: Try unusual storytelling structures, such as non-linear timelines or silent sequences.
- Collaboration: Work with people outside your usual circle to gain fresh perspectives.
- Feedback: Screen your projects for trusted peers and be open to constructive criticism.
Example: Jordan Peele blended horror with social commentary in Get Out, creating a genre-defying film that captivated audiences.
Takeaway: Risks are an opportunity for growth, even if they don’t always succeed.
3. Telling Original Stories: Start with Authenticity
Original projects resonate when they stem from a place of truth.
- Draw from Experience: Incorporate elements of your own life, culture, or worldview into your stories.
- Explore the “Why”: Ask yourself why this story matters to you and how it connects with your audience.
- Avoid Trends: Focus on timeless narratives rather than chasing current fads.
Example: Greta Gerwig’s Lady Bird was deeply personal, based on her experiences growing up in Sacramento. The film’s authenticity made it universally relatable.
Takeaway: The more personal the story, the more it resonates.
4. Developing Your Style: Consistency Meets Creativity
Style is not just about visuals—it’s how you tell a story across all elements of filmmaking.
- Visual Language: Experiment with colors, lighting, and framing to create a distinct aesthetic.
- Narrative Voice: Develop consistent themes or motifs across your projects.
- Sound Design: Use music, sound effects, and silence to evoke specific emotions.
Example: Quentin Tarantino’s use of dialogue, pop culture references, and bold music choices makes his work instantly recognizable.
Takeaway: Your style should be intentional, evolving as you grow but always recognizable as yours.
5. Staying True to Yourself: Building Confidence in Your Vision
The filmmaking process is full of challenges, but staying true to your voice is essential.
- Stay Authentic: Trust your instincts, even if your ideas seem unconventional.
- Adapt Without Compromise: Be open to feedback but maintain your core vision.
- Celebrate Your Growth: View every project, successful or not, as a stepping stone in your creative journey.
Example: Ava DuVernay shifted from public relations to filmmaking, staying true to her voice in films like Selma and 13th, which focus on social justice.
Takeaway: Your voice evolves with every project, so embrace the process.
Conclusion: From Idea to Screen, Your Voice is Your Superpower
Finding your voice as a filmmaker takes time, courage, and commitment. By exploring your influences, taking risks, and staying true to your perspective, you’ll craft stories that not only stand out but also resonate deeply with your audience.
Bolanle Media is excited to announce our partnership with The Newbie Film Academy to offer comprehensive courses designed specifically for aspiring screenwriters. Whether you’re just starting out or looking to enhance your skills, our resources will provide you with the tools and knowledge needed to succeed in the competitive world of screenwriting. Join us today to unlock your creative potential and take your first steps toward crafting compelling stories that resonate with audiences. Let’s turn your ideas into impactful scripts together!
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