The epilogue montage of the recently concluded\xa0Ahsoka\xa0series on Disney+ included a surprising and exciting image: former Jedi turned antagonist Baylan Skoll standing amid colossal statues of the Father, Son, and (partially destroyed) Daughter of Mortis. These mysterious and powerful \u201cForce Wielders\u201d have a long connection to\xa0Ahsoka\xa0mastermind Dave Filoni: they interacted with Anakin Skywalker, Ahsoka Tano, and Obi-Wan Kenobi in the Mortis trilogy (2011) in the third season of\xa0The Clone Wars\xa0animated series, for which Filoni served as supervising director under George Lucas, and then appeared as Jedi temple iconography in the penultimate duology (2018) of the\xa0Star Wars Rebels\xa0animated series, which was co-created and overseen by Filoni. As his segment of the montage ends, Baylan gazes upon a mountain range with a distant hovering light, a visual that closely resembles the Father\u2019s monastery on Mortis.
While this brief glimpse only hints at possible implications for future stories involving Baylan, Ahsoka, and other characters from the Ahsoka\xa0series, the reappearance of Mortis imagery provides the perfect opportunity to delve further into a topic we\u2019ve long wanted to talk about on Hyperspace Theories. In this episode, Tricia Barr and B.J. Priester discuss the Mortis trilogy from\xa0The Clone Wars\xa0and the symbolic, thematic, and philosophical ideas about Star Wars that Lucas used these episodes to explore \u2013 and that Filoni drew upon in multiple ways during the\xa0Ahsoka\xa0series. Tricia elaborates how the Mortis trilogy as a whole, and the choices and fates of the Force Wielders in particular, serve as an allegory for the causes of the fall of the Jedi Order during the Prequel Trilogy. We also examine, at the character level, the ways in which the Mortis trilogy represents Anakin\u2019s fate \u2013 and Ahsoka\u2019s future.
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