Entertainment
The secrets behind 'Skeleton Crew's' suburban planet, the first in 'Star Wars' history
This story contains spoilers for “Star Wars: Skeleton Crew” Episode 3.
There’s more to At Attin than meets the eye.
The peaceful and orderly planet introduced in “Star Wars: Skeleton Crew” is not just the suburban homeworld of Wim (Ravi Cabot-Conyers), Neel (Robert Timothy Smith), Fern (Ryan Kiera Armstrong) and KB (Kyriana Kratter). The third episode of the Disney+ series reveals that At Attin is a mythical planet that has been hidden from the galaxy since long before the events of the original “Star Wars” trilogy and the war between the Empire and Rebellion.
Described as one of the “Jewels of the Old Republic,” At Attin is among the “planets of wonder” that were “hidden for their own protection.” According to Kh’ymm (voiced by Alia Shawkat), who was tapped to help the lost kids trying to find a way home, it’s the only one of these planets that wasn’t destroyed long ago.
This means that even though the series, like “The Mandalorian,” is set during the time of the New Republic — i.e. after the events of the original “Star Wars” trilogy — At Attin’s origins are rooted in an era that spanned for thousands of years before it.
The latest revelation is “just the tip of the iceberg,” says Jon Watts, the head writer and executive producer of “Skeleton Crew” along with Christopher Ford. “There’s so many little reveals and twists and turns along the way.”
KB (Kyriana Kratter), left, and Fern (Ryan Kiera Armstrong) zipping through the town on a speeder in “Star Wars: Skeleton Crew.”
(Lucasfilm Ltd.)
“Skeleton Crew,” which premiered earlier this month, follows a quartet of kids who are trying to find their way home after being unexpectedly flung into the galaxy on an old starship they stumbled upon in the woods in their neighborhood. Accompanying them are a grumpy droid (Nick Frost) that they found aboard the starship and a mysterious, Force-sensitive scoundrel (Jude Law) who they met at a spaceport of scum and villainy.
“We liked the idea of a group of kids that don’t know that much about the ‘Star Wars’ galaxy getting lost in the ‘Star Wars’ galaxy,” says Watts. They’re “experiencing it for the first time [in] the story of their journey home.”
For these specific kids, home is At Attin, where they live in neighborhoods with tract housing and lawns, take the bus or their bikes to school and interact with various service droids. In At Attin, Wim is a latchkey kid who dreams of Jedi adventures with his reliable best friend Neel. Fern is a bit more rebellious, often zipping through the streets on her speeder with her best friend KB.
But it‘s not long after the kids find themselves out in space that there are hints that At Attin is no ordinary place, including how others react to the planet’s name as well as to Wim’s retro lunch money.
Watts and Ford had envisioned the kids’ hometown as a place that they would want to leave “not because it was dystopian or … so desolate” — like Luke Skywalker’s Tatooine or Rey’s Jakku — but because of its “benign conformity.”
“The houses are all kind of the same, it’s safe and everyone has what feels like a boring job,” says Watts. “School is boring and you don’t want to do homework. You know that there’s a bigger adventure out there somewhere. You just don’t know how to get it.”
Concept art for “Star Wars: Skeleton Crew” by Jama Jurabaev.
(Lucasfilm Ltd.)
It was while they were working through the designs and layout of the homes and neighborhoods that At Attin developed into a suburb.
“I wanted the houses to be really cool and ‘Star Wars’-y,” says Ford. “We had a bunch of different designs, but we couldn’t really judge them until we put them in a row. And when you have them in a row, it totally changed how they felt … As soon as you put them in a row, it creates just this immediate quick read of suburbs.”
For At Attin, says production designer Doug Chiang, the “Skeleton Crew” team started with a place “that was somewhat familiar in terms of what ‘Star Wars’ design is, but twisting it a little bit.”
“Suburban Star Wars is something that we’ve never seen before,” Chiang explains. “But the aesthetic was also locked away in time because the planet was hidden.” This meant they were able to lean into the 1970s and ’80s aesthetic of the original “Star Wars.”
The pop cultural touchstones that both Chiang and his fellow production designer Oliver Scholl mention are “E.T. the Extra-Terrestrial” (1982) and “The Goonies” (1985). But beyond these universally recognized neighborhoods, they also looked at real-life places including the retrofuturistic Brasilia, the brutalist architecture at an Armenian airport and the works of architects like Kenzo Tange and Tadao Ando for inspiration.
A view of At Attin in “Star Wars: Skeleton Crew.”
(Lucasfilm Ltd.)
Because the kids being bored on At Attin is key to the story, the production designers had to resist the urge to be overly playful.
“It can’t be too exciting, because we need to transport that idea across to the audience that this is mundane,” says Scholl. “But it’s mundane in a ‘Star Wars’ context. So it has to be exciting, but still carry across [that] they want to see what’s out there beyond the screen in the sky.”
Plus, the design of At Attin had to fit naturally into the ever-expanding world of “Star Wars.”
“The designs have to speak to a broader universe and it has to make sense,” says Chiang. “A lot of the homework that we do is really to make sure that we figure out all the logic in terms of the evolution of each of these places so that there is an inherent internal logic to ‘Star Wars’ that makes sense within the world we’re developing.”
Practically, At Attin‘s design took cues from urban planning, with consideration given to where housing would be in relation to people‘s workplaces, residents’ commuting needs and even water sources.
What’s “really great about ‘Star Wars’ in general is that it’s a lived-in future,” says Scholl. “It’s not this abstract, everything is chic and clean and it doesn’t feel real. You can imagine that [At Attin has] been there for a long time. That many generations of kids have been born there and went to that school there.”
Concept art for “Star Wars: Skeleton Crew” by Jama Jurabaev.
(Lucasfilm Ltd.)
Scholl explains that At Attin features a rectilinear grid plan city center, wrapped by suburbia in a more circular pattern that “is recognizable from space.” Without mentioning specifics, he hints that at least some of the design is related to At Attin’s larger mysteries.
When asked about what other secrets At Attin may harbor, Watts teases that “we made choices for a reason.”
“Us choosing to create At Attin the way it is, and it having similarities to suburbs, there’s a kind of a nostalgia to that,” says Ford. “But in a lot of media, a lot of stories, suburbs are also hiding something. There’s a darker side to it, and that’s all intentional.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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