| Star Wars: The Clone Wars | |
|---|---|
 | |
| Genre | |
| Created by | George Lucas |
| Based on | Star Wars by George Lucas |
| Showrunner | Dave Filoni |
| Starring | |
| Narrated by | Tom Kane |
| Composer | Kevin Kiner |
| Country of origin | United States |
| No. of seasons | 7 |
| No. of episodes | 133(list of episodes) |
| Production | |
| Executive producers |
|
| Producers |
|
| Running time | 22 minutes |
| Production companies | |
| Budget | $750,000–$2 million (per episode) |
| Original release | |
| Network | Cartoon Network |
| Release | October 3, 2008 (2008-10-03) – March 2, 2013 (2013-03-02) |
| Network | Netflix |
| Release | March 7, 2014 (2014-03-07) |
| Network | Disney+ |
| Release | February 21 (2020-02-21) – May 4, 2020 (2020-05-04) |
| Related | |
Star Wars: The Clone Wars is an AmericanCGIanimated television series created byGeorge Lucas and produced byLucasfilm Animation. Set betweenStar Wars: Episode II – Attack of the Clones (2002) andStar Wars: Episode III – Revenge of the Sith (2005), it followsJedi KnightsAnakin Skywalker (Matt Lanter),Obi-Wan Kenobi (James Arnold Taylor), and Anakin'sPadawan,Ahsoka Tano (Ashley Eckstein) as they lead theGalactic Republic'sclone army (Dee Bradley Baker) against the Separatist Alliance, commanded byCount Dooku (Corey Burton) during theClone Wars.
The series originated from Lucas's desire to explore the untold stories of the Clone Wars era including characters and planets briefly mentioned in theStar Wars prequel trilogy. Development began as early as 2004, with Lucas working closely with supervising directorDave Filoni. The creative team drew inspiration from a variety of sources, including theoriginalStar Wars trilogy andRalph McQuarrie's concept art, while also drawing onelements of anime,manga, andGenndy Tartakovsky'sClone Wars (2003–2005) microseries. The series was preceded by an animatedtheatrical film ofthe same name in August 2008, originally intended to serve as its first episodes. It officially premiered on October 3, 2008, onCartoon Network and ran for five seasons before its initial cancellation in 2013.
Following its cancellation in 2013, a project titledThe Clone Wars Legacy adaptedunfinished story arcs into other formats such as comics and novels. The series was laterrevived with a sixth season onNetflix in 2014 and a seventh and final season onDisney+ in 2020, which concluded with the critically acclaimed "Siege of Mandalore" arc, set parallel to the events ofRevenge of the Sith. Although plans for an eighth season were ultimately scrapped, the series was followed by severalsequels, includingStar Wars Rebels (2014–2018), as well as thespin-offsThe Bad Batch (2021–2024) andAhsoka (2023–present).
The Clone Wars was a ratings success for Cartoon Network. While viewership fluctuated across seasons, the series consistently performed well, showing significant year-over-year growth. In its later years, the series experienced a surge in demand on streaming platforms, coinciding with the debut ofThe Mandalorian (2019–2023), and the release of its seventh season, becoming the most in-demand sci-fi series in the United States. It also received critical acclaim and garnered numerous awards and nominations, includingDaytime Emmy Awards and theAnnie Awards.
Star Wars: The Clone Wars is an animated series set betweenStar Wars: Episode II – Attack of the Clones (2002) andStar Wars: Episode III – Revenge of the Sith (2005),[1] during theClone Wars,[2] a three-year conflict between theGalactic Republic and the Separatists.[3] The series "flesh[es] out the adventures ofJedi KnightsObi-Wan Kenobi andAnakin Skywalker" while exploring characters and planets introduced in theprequel films.[2] It follows the Republic's fight against the Separatists, with the Jedi leadingclone armies againstdroid forces commanded byCount Dooku andGeneral Grievous.[4][5] In addition to focusing on Anakin and Obi-Wan, the series explores other Jedi, introduces new and returning villains, and gives more attention to the Troopers and their experiences in the war.[6][5]
Spanning 133 episodes, the series delves into the moral complexities of war, blurring the lines between good and evil, echoingRevenge of the Sith'sopening crawl: "There are heroes on both sides. Evil is everywhere." This portrayal helped establish the series as a significant part ofStar Wars lore, expanding the mythology in ways the films did not.[7] It also bridges the gap between the prequels and the widerStar Wars universe, offering insight into the stakes leading up toRevenge of the Sith. Along the way, it deepens key characters like Anakin and Obi-Wan while introducing new ones such asAhsoka Tano,Cad Bane,Saw Gerrera, andMandalorians like DuchessSatine Kryze andBo-Katan.[7]
| Season | Subtitle | Episodes | Originally released | |||
|---|---|---|---|---|---|---|
| First released | Last released | Network | ||||
| Film | The Clone Wars | – | August 15, 2008 (2008-08-15) | Theatrical release | ||
| 1 | – | 22 | October 3, 2008 (2008-10-03) | March 20, 2009 (2009-03-20) | Cartoon Network | |
| 2 | Rise of the Bounty Hunters | 22 | October 2, 2009 (2009-10-02) | April 30, 2010 (2010-04-30) | ||
| 3 | Secrets Revealed | 22 | September 17, 2010 (2010-09-17) | April 1, 2011 (2011-04-01) | ||
| 4 | Battle Lines | 22 | September 16, 2011 (2011-09-16) | March 16, 2012 (2012-03-16) | ||
| 5 | – | 20 | September 29, 2012 (2012-09-29) | March 2, 2013 (2013-03-02) | ||
| 6 | The Lost Missions | 13 | March 7, 2014 (2014-03-07) | Netflix | ||
| 7 | The Final Season | 12 | February 21, 2020 (2020-02-21) | May 4, 2020 (2020-05-04) | Disney+ | |
Pablo Hidalgo explained on hisTwitter in 2016 that the series followed acomplicated production schedule. Often, more episodes were produced than broadcast during a given season,[8][9] resulting in episodes being released out of order.[10] Typically, the production team followed a 26-episode schedule, which resulted in a few episodes being held back and aired the following season.[9] For example, in season five, the team decided to air only 20 episodes instead of the usual 22.[9] This decision led to further adjustments. If they had gone with a 19-episode season instead, the Clovisarc (season six, episodes 5–6), which was originally part of the season fourproduction slate, would have been included in season five, and theYounglings arc (season five, episodes 6–9) would have been cut.[9]
While considering the future of the Youngling arc, Lucas envisioned it as the basis for a standalone series. He had the episodes edited into apilot film, which wasscreened at that year'sStar Wars Celebration. However, the motivation to create a spinoff was eventually abandoned, and the pilot idea was scrapped. As a result, the episodes remained part of season five.[11][9] Additionally, only 13 of the intended 24 episodes aired in season six, and just 12 of 24 episodes aired in season seven.[12] To help viewers understand the narrativetimeline, the officialStar Wars Twitter account shared an article in 2014 presenting the series inchronological order. This marked the first time Lucasfilm had promoted the episode guide on social media, and the list was later updated after the final season aired.[10]
The following is a selected list of notableguests appearances.
Lucas first envisioned an animatedStar Wars series set during theClone Wars era as early as 2002, even though he originally planned to end the story withStar Wars: Episode III – Revenge of the Sith (2005).[2] During the film's production in 2004, Lucas decided to move forward with an animated series developedin-house.[20][21] He worked with theR&D division of his company,Lucasfilm to launchLucasfilm Animation to develop the series.[2] Lucas then hired a team of "young, Star Wars-obsessed artists" and worked closely withDave Filoni.[2] Lucas financed the series himself and chargedTime Warner licensing fees to distribute it.[2] According to an anonymous source familiar with the company's animation operations, the earliest episodes likely cost between $750,000 and $1.5 million each.[2]
In August 2005, Lucas confirmed that twoStar Wars-themed television projects wereunderway: an animated series and a live-action series.[22] In February 2006,Steve Sansweet emphasized that Lucas was deeply involved in the production process and that the series was scheduled for release in fall 2007.[23] A year later, at the 2007William S. Paley Television Festival, Lucas revealed that the animated series would consist of 100 episodes and described it as a "test" for a larger project. He promised it wouldfeel more like the live-action films in terms of ambiance, pushing the boundaries of what television animation could achieve.[24] Lucas also noted that his team was producing the episodes before securing a network deal, though he was confident that finding a broadcaster would be easy.[24]
After finishing the first 22 episodes, Lucaspitched the series to television networks in late 2007.[2] The initial response was lukewarm;Fox Broadcasting passed, even though its sister company,20th Century Fox, had released theStar Wars films, andCartoon Network, despite having airedStar Wars: Clone Wars (2003–2005), hesitated.[2] However, Lucas's decision to produce a theatrical film of the same name attractedWarner Brothers' interest, leading them to persuade Cartoon Network to reconsider.[2] The film, released in August 2008,[25] was composed of four episodes from the series, originally conceived as a three-part arc titled "Castle of Deception", "Castle of Doom", and "Castle of Salvation", along with a standalone episode, "The New Padawan", which introduced Ahsoka Tano.[26][27] While it was in theaters, Cartoon Network president at the time,Stuart Snyder, heard about the series and flew toSan Francisco toscreen several episodes. He praised it, calling it a "game-changer for Friday night programming."[28] Around this time, Lucas had already announced that he was working on the second and third seasons and forging ahead with a live-action television series.[2]
In early stages of development, Filoni proposed a series centered on a group ofrecurring characters traveling aboard aspaceship similar to theMillennium Falcon, including aJedi apprentice named Ashla, and herJedi Master.[a] Working withHenry Gilroy, Filoni developed early concepts and introduced original characters such asRotta and his father,Ziro,[30] aiming to tell a story that would not interfere with existingStar Warscontinuity, with occasional appearances by film characters like Obi-Wan Kenobi and Anakin Skywalker.[30]
However, Lucas rejected this approach, insisting the series focus on film characters.[30] As a result, Ashla was reimagined as Ahsoka, Anakin's Padawan, and Rotta and Ziro were integrated into the theatrical film.[30] Ahsoka was originally conceived as Obi-Wan's Padawan, but Lucas reassigned her to Anakin to break their repetitive dynamic and highlight Anakin's growth as a Jedi.[31] Filoni and Gilroy developed Ahsoka as a blend of "Anakin's brashness and Obi-Wan's measured judgment," symbolizing the transition fromRepublic toEmpire. Filoni explained, "Ahsoka is between them, looking back at what was, looking forward to what might be."[31] Lucas added that her role was to help mature Anakin, shifting him from the "wild child" ofAttack of the Clones into a more responsible mentor.[32]
Lucas and Filoni co-developed many of the series'scripts, drawing from concepts Lucas had kept since the original trilogy in 1977.[2] The script also draws inspiration fromExpanded Universe of Lucas'sspace opera,[33]manga,[32] and 1950s science fiction, with each episode opening with avoiceoverrecap of the previous installment, followed by an on-screen moral lesson[34]—nicknamed the "Jedi cookie"— which introduces each episode's theme and encourages kids to think.[35]
In a 2008 interview withGizmodo, Lucas compared theClone Wars era toWW II, describing it as a vast and untapped period full of storytelling potential. He explained that, unlike the films—which were narrowly focused on one character and the psychologicalunderpinnings— the series would shift attention toside characters and expand the broaderStar Wars universe. Lucas aimed to take a more lighthearted,episodic approach, inspired byIndiana Jones.[32] While some episodes were intended to be comedic, the series deliberately avoided the tone ofSaturday-morning cartoons. Its episodic format allowed the series to move beyondSkywalker-centered storylines and explore a wider range of characters and events.[24] However, as the series progressed, its tone gradually became darker.[36]
ProducerCatherine Winder described the series as being "akin to ananthology series." She explained that this format allowed each 22-minute episode to stand on its own, enabling viewers to jump in at any point and quickly get oriented. While some episodes areaction-driven, many focus on personal, character-based stories that offer deeper insight into both familiar and lesser-known characters from theStar Wars universe.[35] Winder explained, "the overall goal and spirit, however, is tonally following the flavor ofEpisode IV: A New Hope (1977)."[35] However, by season three, the series adopted a fullychronological format,[37] and by season five, it shifted to four-episode arcs.[38][39]
In 2008 interview withCBR, Filoni explained that he and Lucas aimed to emulate the original film's accessibility, crafting stories casual viewers could enjoy without deep knowledge of theStar Wars universe, while still featuring familiar elements.[21] Filoni acknowledged the difficulty of crafting suspenseful stories when key outcomes such as Anakin's fall to Darth Vader, are already known. To maintain narrative tension, he focused on characters with uncertain futures likeCaptain Rex or Ahsoka.[21]
The series released in mid-2008 sparked debate about their place in theStar Warscanon, particularly regarding theirtimeline and conflicts with existing continuity. Writer Gilroy explained that Lucasfilm uses a tiered canon system,[b] and continuity expertLeland Chee introduced "T-canon" to categorize television content.[40] AfterDisney acquired Lucasfilm in 2012, it redefined the canon, branding most pre-2014 material asLegends.The Clone Wars remained official canon due to its popularity and narrative importance.[41]
Bryan Young ofSlashfilm argues thatThe Clone Wars, especially its pilot film, draws significant inspiration fromsamurai cinema, notably the 1989 filmShogun's Shadow. He highlights visual and narrative parallels, emphasizing the Jedi's resemblance to noble warrior protectors. Young also notes stylistic echoes ofAkira Kurosawa's work, including dynamic action sequences and cinematography influenced by his visual style.[42] Marissa Martinelli ofSlate argues that, despite being a cartoon series, it is not aimed at children due to itsmoral ambiguity, the debate betweenfree will anddestiny, themes ofrevenge, and the way it experiments with various genres, from horrorpastiches to Kurosawa homages.[36] A study published in theJournal of Policing, Intelligence and Counter Terrorism by Colin Atkinson argues that the series offers an accurate portrayal of how societiesmilitarize during wartime. Using themes like policing,espionage, and institutional change, Atkinson argues that key episodes mirror real-world conflicts, likeWW II. The series also illustrates how peaceful institutions, like theJedi Order, adoptwarlike tactics, which blurs ethical boundaries. Thus, the series serves as a resource for learning about the moral ambiguities of war.[43]
Filoni wanted a design that was original and sustainable for a TV production schedule and budget, so he ruled outphoto-realism. He initially considered creating a CG version ofGenndy Tartakovsky'sClone Wars microseries, but ultimately felt that was not the right approach.[44] However, CGsupervisor Joel Aron noted that Tartakovsky's vision still influenced the series'visual effects, explaining, "Its influence shows in elements such as the shapes of explosions and smoke, and the use of dramaticsilhouettes."[45] Though the series uses CGI, it is intentionally not photorealistic. Lucas explained that this choice reflected a desire to treat animation as an art form, using computers as "paintbrushes" to craft a distinctive visual style.[32] Characters were described as resembling painted wooden puppets, evoking the look of the 1960smarionette seriesThunderbirds blended with elements ofJapanese cartoon style,[46][32] echoing Lucas initial anime-inspired vision, which gradually diminished as the series evolved.[47]
Instead of adapting existing animation styles, Filoni and artist Alex Woo spent a month exchanging sketches to develop a new aesthetic direction. Although the series was conceived as a "new take onStar Wars," they aimed to retain the classic feel of the original films, drawing heavy inspiration fromRalph McQuarrie'spre-production artwork.[44] Filoni envisioned every episode feeling like a moving McQuarrie painting, as if painted directly onto the TV screen. Inspired by this idea, Producer Justin Leach created rough 3D models based on McQuarrie's paintings ofJabba's palace onTatooine, adding slight camera movements to bring them to life, Leach recalled "It was the first inkling of what the show might turn into".[44] Filoni also wanted a painted, handmade look, so the animation team usedtextured,stylized designs rather than aiming forrealism.[48]
He noted that the character design became defined by intense curves and angular graphic shapes, a style never before seen in a CG cartoon. He explained that they "were intentionally carving angles into the characters, using light and shadow to create graphic looks."[49] He later recalled: "we're going to have the characters be somewhat stylized, somewhat graphic, but still have some of the photorealism that you see in the films. This way they live in their own reality where you're not expecting it to be photo-real -- but it's notcartoony and not overly exaggerated either. So they live in a believable level of realism."[47]
To visualize the characters in 3D, sculptor Darren Marshall created claymaquettes, Marshall recalled, "I was sculpting the original maquettes, and I remember Dave telling us that he wanted the characters to look like the characters, not so much the actors."[44] For the design of the clone troopers, Filoni stated in 2007 that mobility was prioritized, as the production team needed to reuse models efficiently for TV. To achieve this, certain armor gaps were widened and some shoulder joints were omitted to accommodate animation needs.[47] Writer Gilroy recommended Kilian Plunkett, acomic book artist who had worked onStar Wars comics forDark Horse. Plunkett deliveredconcept designs forMace Windu,Palpatine, and the droidsR2-D2 andC-3PO.[44]
The visual style aimed for a balance between the realism of theStar Wars films and the stylized approach of the earlierClone Wars micro-series, emphasizing inspirations including Gentle Giant maquettes andPaul Rudish's original designs. The creative team wanted to honor both the animated legacy and the cinematic tone of the franchise, particularly in anticipation of an upcoming live-action series at the time that was never produced.[47] The series also drew from a wide range of cinematic influences. Sansweet compared the series's use ofCG animation toToy Story,[23] while Aron citedThe Empire Strikes Back (1980) as a key visual reference. Aron also drew from personal favorites, includingJaws (1975),Close Encounters of the Third Kind (1977),Indiana Jones,The Deer Hunter (1978), andButch Cassidy and the Sundance Kid (1969), noting that "you'll always see those influences pop up in any given episode."[45]
In order to achieve an anime-inspired look,[2] Lucasfilm Animation initially considered outsourcing animation to Japanese studios and potentially bringing in a Japanese director.[20] However, this plan changed when they connected withTaipei-basedCGCG, a studio known for its 3D animation work on projects likeBionicle: Mask of Light (2003) andDevilman (2004). Impressed by their style and organization, Lucasfilm chose the studio as a partner.[50] The production team also worked in theBay Area, Taipei, Tokyo, Singapore,[51] and atSkywalker Ranch in California.[52] To support this globally distributed production, Lucasfilm adoptedAutodesk Maya as its primary animation platform. The California team set the story and key scenes, while the studios in Asia handled animation. This 24-hour pipeline enabled the production of an unprecedented eight minutes of finished animation each week.[53] Character designs were translated intodigital form using Maya, which was also used tomodel figures such as Anakin Skywalker, Obi-Wan Kenobi, R2-D2, and Jabba the Hutt.[53]
The production team adopted a cinematic2.35:1 widescreen ratio, which motivated Lucas to become more involved than he had originally planned.[54] Producer Winder explained that the series used anon-linear production process, allowing the team to develop episodes out of sequence and revise them as the story evolved. This flexibility enabled the creation of sequels and prequels after standalone episodes had already been completed, an approach more typical offeature films than traditional television.[35]
In the first season, the fast-paced production required extensive use ofstoryboards to map out sequences before animation, with every shot drawn by an episodic director or storyboard artist.[55] As the series progressed,animators adopted a cutting-edge digitalpre-visualization system. Using tools like theDirector's Toolkit and avirtual camera, they blocked scenes and assembled episodes in real-time. According to supervisor Aron, artists usedflat-screen monitors,styluses, and a vast 3D asset library, including characters, ships, and planets, stored on Lucasfilm's servers. The virtual camera allowed directors to navigate these environments freely, capturing shots from any angle and adjusting composition and timing on the fly. This approach enabled smoother, moredynamic visual storytelling and drew from an extensive library ofStar Wars assets.[56]
Director Filoni later explained that scenes werevirtually blocked using a specialized digital tool called Zviz, developed by Lucas. It allowed directors to stage and rehearse scenes in 3D, similar to live-action filmmaking, and enabled continuous,cinematic camera movements for a moreimmersive experience. Filoni described the Bad Batch arc (season seven, episodes 1–4) as the "most authentic" to the series' original production style. He also noted that the final arc,Siege of Mandalore (episodes 9–12), marked a significant creative departure, pushing into new creative territory they had never before explored.[57]
Some voice actors from earlierStar Wars animated projects returned for the series, includingTom Kane asYoda andJames Arnold Taylor asObi-Wan Kenobi.[58] Most characters were recast with new voice actors, as the original and prequel film casts did not return, except forAnthony Daniels, who reprised his role asC-3PO.[58]Hayden Christensen, who portrayed Anakin Skywalker in the prequels, said in February 2008 that he had not been approached, though he expressed interest.[59]Samuel L. Jackson likewise expressed interest in reprising his role asMace Windu, but only voiced the character in the film.[59] Lucas cited scheduling conflicts, budget constraints, and a preference for lesser-known talent, explaining that major stars were often unavailable and that celebrity involvement was unnecessary. He further emphasized, "I don't really think I need to hire a big movie star to publicize my movie".[58]
Filoni described working with the actors as a collaborative process. Before recording, he meets with them to break down each episode and often engages in in-depth discussions about character interpretation.[21] From the beginning, he told the cast that, while they were voicing classic characters, they should inhabit the roles themselves and not merely mimic the live-action performances, though they may incorporate subtle elements of those portrayals.[21] Filoni also encourages the actors to trust their instincts, saying that if a line feels more inspired when delivered differently, he supports the changes.[21]
The seriesLogo design was carefully crafted to reflect elements fromAttack of the Clones andThe Empire Strikes Back. The goal was to align closely with the visual style of the original films by adopting a traditional logo approach and moving away from the "bull's-eye" motif that characterized the earlierClone Wars series on Cartoon Network.[47] Thesound design was created byBen Burtt, with a team fromSkywalker Sound:David Acord, Juan Peralta, andMatthew Wood. All three had previously worked on the prequel films, ensuring it sounds likeStar Wars.[60] Peralta notes, "The entire crew considers each episode a mini-feature, and we are used to doing film-quality work".[60] For the Malevolence arc (episodes 2–3), Acord creates new sounds using "real-world objects,, like a vibrating back massager on a vinyl record."[60] Wood edits the sounds together, including the dialogue, while Peralta mixes the sound with the music.[60]
Kevin Kiner composed the soundtrack for all episodes of the series. At Lucas's request, each planet in theStar Wars galaxy was given its own musical theme.[61] Drawing inspiration from the scores ofJohn Williams, Kiner incorporated many of Williams' musical motifs throughout the series.[62] He also subtly integrated elements from his own work onCSI: Miami (2002–2012), following Lucas's wishes.[62] Kiner described scoring an episode of the series as an intense and exhausting process, comparable to composing music for a feature film. He also explained that each character inspired different musical directions, especially JediLuminara Unduli,Plo Koon, and Ahsoka Tano.[62]
On March 11, 2013, Lucasfilm announced that the series would end with its fifth season;[39][63] this decision came shortly after Disney acquired Lucasfilm, signaling a shift in the direction of theStar Wars franchise.[64] Although production for Cartoon Network was to "wind down," several episode arcs were already completed, with Filoni confirming that these story arcs, described as some of the "most thrilling" and important in the series, would be released later as bonus content. Around the same time, Lucasfilm announced that a new animatedStar Wars project was in development.[65][39] During this period, fans tried to bring the series back by startingpetitions on platforms likeChange.org, posting on social media, and using the hashtag #SaveTheCloneWars.[66]
Initially, the series was planned to span 300 episodes; some had already been recorded, but much of the content was ultimately scrapped following its cancellation.[67][68][69] In October 2015, journalist Chris Taylor stated in his bookHow Star Wars Conquered the Universe that the decision to cancel the series was primarily due to financial reasons.[70] He explained that the series' high production costs around $2 million per episode, along with declining ratings and the need to allocate resources to upcomingStar Wars films, made its continuation unsustainable.[70] At the 2018 LondonComic-Con,Daniel Logan, the voice ofBoba Fett, said the series was canceled because it became "too graphic," something he believed Disney wasn't used to at the time.[71]
In 2013Comic-Con, the seriesrevival was announced,[72] with its sixth and intended final season, subtitledThe Lost Missions, which was released exclusively onNetflix.[73] After acquiring the series, Netflix vice president Sean Carey said it was becoming darker and no longer fit with Cartoon Network, but that it was "a hidden gem that Disney brought to our attention, and we jumped all over it."[74]
However, on July 19, 2018, during apanel atSan Diego Comic-Con celebrating the series' tenth anniversary, it was revealed that series would be revived again on Disney+ for a final season to wrap up the stories left unresolved; the panel featured the hashtag #CloneWarsSaved in celebration of the series' return.[75] Although an eighth season was scrapped, key storylines were repurposed forStar Wars Rebels (2014–2018) and Filoni later reworked some of them into the seventh season, tying the series intoRevenge of the Sith.[76]
Star Wars: The Clone Wars episodes run about 22 minutes each,[35] and is seen as "mini-movie" appealing to kids, particularly boys aged 6–14, and theirnostalgic parents.[28] The series debuted on Cartoon Network on October 3, 2008, at 9 p.m.[77] following the release of a theatrical animated feature in August of that year. The series remained on Cartoon Network through season five,[78] with new episodes beginning to air onSaturday mornings starting that season.[79] Episodes first became available forstreaming oniTunes the day after their original broadcast and were also offered for free on Cartoon Network's and StarWars.com's websites a week after its airdate.[80]
Following its cancellation in 2013, the series wasrevived with a sixth and intended final season, released exclusively on Netflix in the United States and Canada on March 7, 2014. As part of a formal agreement between Netflix andDisney/ABC, all previous seasons were also made available on Netflix, marking the first timeStar Wars content appeared on the platform.[73] However, Disney's plans to launch its own streaming service, Disney+, led to the end of its content deal with Netflix in the summer of 2017, with allStar Wars content scheduled to leave the platform by April 7, 2019.[81] Disney+ became the primary platform for streaming the series andStar Wars-related shows.[82][83]
| Title | Release date | Format | Content | Notes | Ref. |
|---|---|---|---|---|---|
| A Galaxy Divided | March 24, 2009 | DVD | Episodes 1–4 | Initial release containing the first four episodes | [84] |
| Clone Commandos | September 15, 2009 | Episodes 5, 19–21 | Volume 2 of the first season | [85] | |
| The Complete Season One | Fall 2009 | DVD Blu-ray | All Season 1 episodes | Includesdirector's cuts, video commentary, test animations, concept art, and exclusive content. | [86] |
| The Complete Season Two | October 26, 2010 | All Season 2 episodes | Includes bonus features | [87] | |
| The Complete Season Three | October 18, 2011 | All Season 3 episodes | [88] | ||
| The Nightsisters Trilogy: Feature-Length Cut | December 5, 2011 | Digital | Season 3, episodes 12–14 | Director's cuts/BTS interview | [89] |
| Darth Maul Returns | September 11, 2012 | DVD | Season 4, episodes 19–22 | Focuses on Darth Maul's story arc/ directors' Cut | [90] |
| The Complete Season Four | October 23, 2012 | DVD Blu-ray | All Season 4 episodes | Full season release with extras | [91] |
| The Complete Season Five | October 15, 2013 | All Season 5 episodes | [92] | ||
| Collector's Edition | October 14, 2013 | DVD | All seasons 1–5 | Released alongside Season 5 | [93] |
| The Lost Missions (Season 6) | April 29, 2015 | DVD Blu-ray | All Season 6 episodes | Final season release | [94] |
Upon its debut,Star Wars: The Clone Wars was a ratings success for Cartoon Network. The series premiered was watched by 4 million total viewers according toNielsen Media Research.[95] The premiere ranked as the number one program among all major kids' networks at the time across total viewers and key youth demographics, including 1.8 million viewers aged 2–11, 1.4 million aged 6–11, and 1.2 million tweens aged 9–14, setting a new record for aCartoon Network original series debut.[25][c] The episode'stime slot experienced triple-digit percentage increases compared to the previous year.[95] Although subsequent episodes in the first season dipped below 3 million viewers, the finale climbed back up to 3.29 million viewers.[97]
The second-season premiere attracted 2.58 million viewers, with the finale reaching 2.76 million.[98][99] The third season opened to 2.42 million viewers, and although viewership dipped below 2 million mid-season, the season finale was watched by 2.31 million.[100][101][102] The fourth-season premiere marked a ratings low at the time, with 1.93 million viewers, though the finale rose to 2.03 million.[103][104]
During its fifth season, the series maintained strong ratings despite being moved toSaturday morning in 2012, remaining one of the highest-rated series on the channel.[78] While the schedule change led to a slight dip in overall viewership, the series still averaged 1.7 million total viewers and frequently ranked as the top telecast of the day among boys aged 9–14.[105][79] According to aTurner spokesperson, the season ranked as the top program in its time slot among boys aged 9–14 in October of that year, with significant year-over-year growth across key youth demographics. Viewership increased by 46% among children aged 2–11, 34% aged 6–11, and 64% ages 9–14. Among boys specifically, the gains were even higher: up 45% for ages 2–11, 36% for ages 6–11, and 72% for ages 9–14.[78][105]
According to Parrot Analytics, the series experienced multiple spikes in demand following the release ofThe Mandalorian (2019–2023). The first occurred afterThe Mandalorian premiered in November 2019, followed by a second in spring 2020 with the release of the seventh and final season. A third spike was recorded in October 2020, coinciding with thepremiere episode ofThe Mandalorian's second season.[106]
In early May 2020, the series topped U.S. streaming demand for two consecutive weeks. The May 1 release of its penultimate episode sparked a 43.3% surge. The early debut of the finale onMay 4 pushed demand up another 65.8%, placing it well ahead ofStranger Things. Originally slated for May 8, the finale helped the series achieve 119 times the average show's demand, making it the most in-demand U.S. series and surpassingThe Mandalorian in sci-fi rankings.[107][108][109]
Star Wars: The Clone Wars has become one of the most essential pieces ofStar Wars.[7][110][111][42] It was noted that despite a "rocky start," the series won over viewers and critics through its evolving characters, diverse story arcs, and increasingly good animation.[110] Critics also acknowledged that, while some episodes may feel geared toward younger audiences, the series gradually delves into darker storylines.[112]
It was noted that the series helped redeem the prequel trilogy by strip-mining its most compelling ideas and characters, expanding them into rich story arcs while also introducing new concepts of its own.[7][113] It was noted that what began as an innocent animated TV series with an "anthology-esque structure" ultimately became a cornerstone of theStar Wars franchise,[114] bridging gaps in the franchise mythos and addressing long-standing questions that had lingered for years, even if somefiller episodes were weaker in comparison.[7][113][114]
WhatCulture ranking it number five in their list of "Best Animated Sci-Fi TV Shows of All Time". They praised the series for living up to the films with its epic battles, rich mythology,clever twists, and satisfying conclusion.[115] In 2009,IGN named the series as the 89th best animated series,[116][117] specifically praising key episodes for having some of the best storylines in theStar Wars Expanded Universe.[118] AtSan Diego Comic-Con in July 2010,Guinness World Records editorCraig Glenday presented supervising director Dave Filoni, CG supervisor Joel Aron, and lead designer Kilian Plunkett with a certificate recognizing the series as "the highest-rated sci-fi animation currently on television."[119] In 2012,Entertainment Weekly ranked it at number eight in its list of "10 Best Cartoon Network Shows", praising its evolution since the 2008 pilot film and calling it a "cinematic actioner" appealing to both kids and adult audiences.[33]
In aretrospective review, Marissa Martinelli ofSlate acknowledged the criticism of the pilot film, calling its flaws fair but noting that it paved the way for the TV series. Though the first season leaned heavily oncomic relief andkid-friendly antics, the series matured over six seasons into a "surprisingly complex drama," with violent character deaths. Still, Martinelli argues that the series strength lies not in how "dark" it gets, but in how it adds essential depth to the prequel trilogy and expands theStar Wars universe throughside stories. She highlights its "radicallypopulist approach" to storytelling, focusing on clones, bounty hunters, and lesser-known characters, long beforeThe Last Jedi (2017) attempted something similar.[120] William Thomas ofEmpire gave the series four out of five stars, noting that while it isn't superior to theStar Wars films, its visual style is possibly "the best-looking cartoon show of all time." Thomas notes that, despite some uneven storytelling, the half-hour episodes and occasionalcliffhangers perfectly suit its roots in Saturday-morningserials.[121]
| Year | Award | Category | Recipient(s) | Result | Ref. |
|---|---|---|---|---|---|
| 2009 | Motion Picture Sound Editors Awards | Best Sound Editing – Animation | Matthew Wood,David Acord, Frank Rinella, Dennie Thorpe, Jana Vance, and Ellen Heuer for the episode "Lair of Grievous" | Won | [122] |
| Annie Awards | Music in an Animated Television Production | Kevin Kiner for the episode "Rising Malevolence" | Nominated | [123] | |
| 35th Saturn Awards | Best Syndicated/Cable Television Series | Star Wars: The Clone Wars | Nominated | [124] | |
| 2010 | 37th Annie Awards | Music in an Animated Television Production | Kevin Kiner for the episode "Weapons Factory" | Nominated | [125] |
| Motion Picture Sound Editors Awards | Best Sound Editing – Sound Effects, Foley, Dialogue, and ADR in Animation | Matthew Wood,David Acord, Frank Rinella, Ellen Heuer, Sean England, and Juan Peralta for the episode "Landing at Point Rain" | Nominated | [126] | |
| Television Critics Association Awards | Outstanding Achievement in Animation | Star Wars: The Clone Wars | Nominated | [127] | |
| 2010 Teen Choice Awards | Outstanding Achievement in Animation | Nominated | [128] | ||
| 2011 | 38th Annie Awards | Best Animated Television Production | Lucasfilm Animation for the episode "ARC Troopers" | Nominated | [129] |
| Voice Acting in a Television Production | Corey Burton as Baron Papanoida | Nominated | |||
| Voice Acting in a Television Production | Nika Futterman asAsajj Ventress | Nominated | |||
| Writing in a Television Production | Daniel Arkin for the episode "Heroes on Both Sides" | Nominated | |||
| 2012 | Animated Effects in an Animated Production | Joel Aron | Nominated | [130] | |
| Voice Acting in a Television Production | Nika Futterman as Asajj Ventress | Nominated | |||
| Voice Acting in a Television Production | Dee Bradley Baker asClone Troopers | Nominated | |||
| Editorial in a Television Production | Jason Tucker | Nominated | |||
| Best General Audience Animated TV Production | Star Wars: The Clone Wars | Nominated | |||
| 2nd Critics' Choice Television Awards | Best Animated Series | Nominated | [131] | ||
| 2013 | 40th Annie Awards | Animated Effects in an Animated Production | Joel Aron | Nominated | [132] |
| Character Animation in a Television Production | Keith Kellogg | Nominated | |||
| Voice Acting in a Television Production | Sam Witwer asDarth Maul | Nominated | |||
| Editorial in a Television Production | Jason Tucker | Nominated | |||
| 3rd Critics' Choice Television Awards | Best Animated Series | Star Wars: The Clone Wars | Nominated | [133] | |
| 40th Daytime Emmy Awards | Outstanding Special Class Animated Program | Star Wars: The Clone Wars[d] | Won | [135] | |
| Outstanding Performer in an Animated Program | David Tennant as Huyang | Won | |||
| Jim Cummings as Hondo Ohnaka | Nominated | ||||
| Sam Witwer as Darth Maul | Nominated | ||||
| Outstanding Directing in an Animated Program | Dave Filoni, Kyle Dunlevy, Brian Kalin O'Connell, Steward Lee, and Bosco Ng | Nominated | |||
| Outstanding Achievement in Music Direction and Composition | Kevin Kiner | Nominated | |||
| Outstanding Achievement in Sound Mixing – Animation | David Acord and Cameron Davis | Nominated | |||
| 2014 | 41st Annie Awards | Character Animation in a Television Production | Keith Kellogg | Nominated | [136] |
| Editorial in a Television Production | Jason Tucker | Nominated | |||
| Motion Picture Sound Editors Awards | Best Sound Editing – Sound Effects, Foley, Dialogue, and ADR in Animation | Matthew Wood, David Acord, Dennie Thorpe, Jana Vance, Jeremy Bowker, Erik Foreman, Steve Slanec, Frank Rinella, Dean Menta, and Sean Kiner for the episode "Lawless" | Nominated | [137] | |
| 41st Daytime Emmy Awards | Outstanding Special Class Animated Program | George Lucas, Dave Filoni, Cary Silver, and Athena Yvette Portillo | Won | [138] | |
| Outstanding Individual Achievement in Animation | Christopher Voy | Won | |||
| Outstanding Achievement in Sound Mixing – Animation | Cameron Davis, David Acord, Frank Rinella, and Mark Evans | Nominated | |||
| Outstanding Achievement in Sound Editing – Animation | Matthew Wood, Dean Menta, Jeremy Bowker, Erik Foreman, Pascal Garneau, Steve Slanec, Frank Rinella, Dennie Thorpe, Jana Vance, and David Acord | Nominated | |||
| 2015 | Motion Picture Sound Editors Awards | Best Sound Editing – Animation | Matthew Wood, David Acord, Kevin Sellers, Steve Slanec, Jeremy Bowker, Dean Menta, and Sean Kiner for the episode "Sacrifice" | Won | [139] |
| 42nd Daytime Emmy Awards | Outstanding Special Class Animated Program | George Lucas,Dave Filoni, Cary Silver, and Athena Yvette Portillo | Nominated | [140] | |
| Outstanding Performer in an Animated Program | Mark Hamill asDarth Bane | Nominated | |||
| Outstanding Writing in an Animated Program | Christian Taylor | Nominated | |||
| Outstanding Directing in an Animated Program | Dave Filoni, Brian Kalin O'Connell, Danny Keller, and Steward Lee | Nominated | |||
| Outstanding Achievement in Sound Mixing – Animation | Cameron Davis, David Acord, Frank Rinella, and Mark Evans | Nominated | |||
| Outstanding Achievement in Sound Editing – Animation | Matthew Wood, David Acord, Dean Menta, Jeremy Bowker, Steve Slanec, Andrea Gard, Kevin Sellers, Dennie Thorpe, and Jana Vance | Nominated | |||
| Outstanding Achievement in Music Direction and Composition | Kevin Kiner | Nominated | |||
| 2021 | Producers Guild of America Awards | Outstanding Children's Program | Star Wars: The Clone Wars | Nominated | [141] |
| 46th Saturn Awards | Best Animated Television Series | Won | [142] | ||
| 48th Annie Awards | Best Animated Television/Broadcast Production for Children | Lucasfilm Animation /Star Wars: The Clone Wars "Shattered" | Nominated | [143] | |
| Outstanding Achievement for Music in an Animated Television / Broadcast Production | Kevin Kiner for the episode "Victory and Death" | Nominated | |||
| 48th Daytime Emmy Awards | Outstanding Writing Team For A Daytime Animated Program | Star Wars: The Clone Wars | Nominated | [144] | |
| Outstanding Music Direction And Composition For A Preschool, Children's Or Animated Program | Nominated | ||||
| Outstanding Sound Mixing and Sound Editing for a Daytime Animated Program | Star Wars: The Clone Wars mixing and sound editing crew[e] | Won | [145] |
AfterStar Wars: The Clone Wars was initially cancelled following its fifth season in 2013, it was succeeded byStar Wars Rebels (2014–2018),[146] which is seen as asequel that continues the stories of characters like Ahsoka Tano,[147][148][149] while also adopting storylines originally planned forThe Clone Wars' scrapped eighth season.[76] This was followed byAhsoka (2023), aspin-off ofThe Mandalorian (2019–2023), which picks up whereRebels left off[147] and further develops some of those unused storylines.[76]
Additionally, on July 13, 2020,Star Wars: The Bad Batch, was announced as a spin-off, focusing on a squad of enhanced clones introduced in the seventh season. It premiered onDisney+ onMay 4, 2021.[150][151] Though a spin-off, the series also serves as a direct sequel, set during the early years of theEmpire.[152][153] On October 26, 2022, the animatedanthology seriesTales of the Jedi premiered on Disney+,[154] continuing the stories ofThe Clone Wars.[155]
After the series was cancelled in 2013,Darth Maul: Son of Dathomir, a four-issuecomic miniseries based on completed scripts originally written for season six, was published between May 21 and August 20, 2014. It continuesMaul's story following his defeat and capture byDarth Sidious in season five and it is the onlyStar Wars comic fromDark Horse Comics considered part of officialcanon.[156][157]
Twounfinished story arcs from the canceled seventh season were released instory reel format on the officialStar Wars website. The first arc,Crystal Crisis onUtapau, debuted on September 25, 2014, featuring full voice acting, music, and sound despite its rough animation. According toPablo Hidalgo, it remains part of official canon.[158] The second arc,The Bad Batch, premiered atStar Wars Celebration on April 17, 2015, and was released on the official website in May 2015.[159][160]
An eight-episode arc featuring Asajj Ventress andQuinlan Vos, originally planned for season seven,[161][162] was adapted into the canon novelStar Wars: Dark Disciple byChristie Golden, released on July 7, 2015.[163] Another adaptation,Star Wars: The Clone Wars – Stories of Light and Dark, is a canon,young adult,[156]anthology book released on August 25, 2020. It reimagines key episodes from the series through elevenshort stories, each written by a different author. Ten of the stories retell major episodes and arcs, while one introduces a new tale set in the same era, with each story told from a character's point of view.[164][165]
Additionally,Star Wars Adventures: The Clone Wars – Battle Tales, a five-issue comic series published byIDW Publishing in 2020, presents an anthology of war stories told by characters from the series. Written byMichael Moreci, withframing sequences by Derek Charm, each issue features a different artist and explores different theme.[166][167]
Star Wars: Legends is the label for pre-2014 books,comics, games and other materials that were once part of the official timeline, known as theExpanded Universe. AfterDisney acquired Lucasfilm in 2012, these stories were rebranded in 2014 to make way for a newcanon.[168]
The series was accompanied by a comic book series of the same name, with artwork matching the series' visual style.[169][f] Each issue included a main story and a "backup story," written and illustrated by various creators involved with the series, including Henry Gilroy and Dave Filoni.[169] Published byDark Horse Comics between September 2008 and January 2010, the twelve-issue run was later collected into threetrade paperbacks. The first,Star Wars: The Clone Wars – Slaves of the Republic, became aNew York Times bestseller[170] and was the first Clone Wars comic to be adapted into an episode of the same name.[171] It was followed byInService of the Republic andHero of the Confederacy.[172] Additionally, a special issue was released forFree Comic Book Day in 2009.[173] A separate four-issue miniseries,Darth Maul: Death Sentence, was released in July 2012, serving as a bridge between the events of seasons four and five of the series.[174][175]
The series was also accompanied by a 23-chapter weeklywebcomic of the same name, released exclusively onStarWars.com. Each chapter served as an introduction to that week's episode and was written to expand on the story.[176][80][177][178] These first-season installments, which also tied into onlineFlash games, were later collected in a trade paperback titledStar Wars: Tales from The Clone Wars, published by Dreams & Visions Press in collaboration with Dark Horse Comics in August 2010.[178] For the second season, the site introducedThe Clone Wars: Act on Instinct, a standalone webcomic with an original story that occasionally tied into the show's events.[179]
With the start of the third season,StarWars.com launchedThe Clone Wars: The Valsedian Operation, further expanding the series' narrative.[180] Eleven quarterlygraphic novels of the same name were also published by Dark Horse Comics to tie in with and expand upon the series. Written by various authors, including Gilroy, the novels were released between September 24, 2008, and June 19, 2013.[181][g]
On November 11, 2008,Star Wars: The Clone Wars – Lightsaber Duels, anaction game for theWii, was released. Developed byKrome Studios and published byLucasArts, it closely follows the film and series, presenting a sequence of duels where players can control various characters using theWii Remote to simulatelightsaber movements.[193] On the same day,Star Wars: The Clone Wars – Jedi Alliance was released forNintendo DS, also by LucasArts, based on the TV series.[194]
On October 6, 2009,Star Wars: The Clone Wars – Republic Heroes was released, developed by Lucasfilm Animation Singapore and Krome Studios and distributed by LucasArts. The game is set between the first and second seasons and allows players to control Jedi orclone troopers. Main antagonists include the bounty hunterCad Bane, the Skakoan Kul Teska, andCount Dooku.[195] On March 25, 2011,LEGO Star Wars III: The Clone Wars was released, the fourth installment in the LEGO video game series, based on theClone Wars and covering the series, the film, and Episodes II and III. Main villains include Count Dooku, his apprenticeAsajj Ventress, andGeneral Grievous.[196] TheMMORPGStar Wars: Clone Wars Adventures launched on September 15, 2010, allowing players to create avatars and participate in mini-games to earn credits for gear and vehicles. The game was shut down on March 31, 2014.[197]
InDisney Infinity 3.0, atoys-to-life video game released in September 2015, several characters from the series are playable asaction figures usingNFC technology. Each copy of the game includes the "Twilight of the Republic" playset, an alternate Clone Wars storyline with Anakin and Ahsoka.[198] Characters from the series also appear in mobile games forAndroid andiOS, includingStar Wars: Galactic Defense (October 2014),[199]Star Wars: Galaxy of Heroes (November 2015),[200] andStar Wars: Force Arena (January 2017).[201] SomeThe Clone Wars characters were added in a DLC expansion forStar Wars Battlefront II.[202]
But whatStar Wars: The Clone Wars serves up is a rehashedThunderbirds with a dash of Japanese anime.
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