The Force works in mysterious ways – and so does Star Wars television. From Saturday morning cartoons with Ewoks to the prestige drama of Andor, the galaxy far, far away has served up a truly chaotic mix of shows across decades, styles, and streaming services.
Some entries expanded the canon in bold, brilliant directions. Others… made you question whether the galaxy even needed expanding. With animated and live-action series now stacked high across Disney+, it’s time to take stock and rank all Star Wars TV shows – the bad, the mid, and the masterworks.
19 – Droids
If you ever wondered what R2 and 3PO were up to before Star Wars… don’t.
Set before the events of A New Hope, Droids follows C-3PO and R2-D2 as they bounce between temporary owners and low-stakes conflicts across the galaxy. Meant to ride the popularity of the droids into cartoon stardom, it instead plays like a mismatched spin-off that can’t quite decide who it’s for – or why it’s happening.
The animation is stiff, the stories are forgettable, and the tone is too goofy for adults and too bland for kids. Anthony Daniels voicing C-3PO is the lone carryover from the films, but even he sounds like he’s counting the days. A few ideas might’ve worked better with stronger storytelling, but as-is, it’s a forgettable slice of ‘80s Star Wars history.
18 – Ewoks
A lesson in how to overestimate the power of plush.
Set in the forests of Endor, Ewoks tried to capture the charm of its namesake creatures for a younger Saturday morning crowd. Across two seasons, Wicket and his village get wrapped up in light fantasy plots, magical creatures, and the occasional threat that’s quickly resolved by teamwork and tree-gliding.
The art style shifts between seasons, but both are rough by modern standards. While there’s some nostalgic warmth for its retro innocence, it leans so far into generic children’s TV that any ties to the larger Star Wars saga feel decorative at best. It’s a curiosity – but only for the most dedicated franchise historians.
17 – Young Jedi Adventures
Set during the High Republic era, Young Jedi Adventures follows a trio of Force-sensitive younglings as they learn key Jedi values like teamwork, patience, and not slicing things with their training sabers. Aimed squarely at children under 7, it’s Lucasfilm’s first Star Wars show for preschoolers – and it wears that mandate proudly.
There’s charm in its sincerity and the animation is bright, fluid, and kid-friendly. But there’s almost nothing here for older fans beyond curiosity or background noise. The stories are short, safe, and hyper-repetitive by design. It’s not bad – it’s just not made for you. And that’s perfectly okay.
16 – Resistance
Bold visual style, soft narrative punch.
Set just before The Force Awakens, Resistance follows Kazuda Xiono, a young pilot recruited to spy on the growing First Order threat. The show leans into speed, racing, and espionage – a fresh concept for Star Wars – but it never finds the dramatic urgency its premise deserves.
The cel-shaded animation is eye-catching and the cast is solid, with appearances from Poe, Phasma, and other sequel-era characters. But its lightweight tone and uneven writing often undermine the stakes. It had potential to deepen the sequel timeline but ended up skating across its surface – entertaining, but ultimately insubstantial.
15 – The Book of Boba Fett
Two Mandalorian episodes, one confused bounty hunter, and a lot of sand.
What should’ve been a triumphant return for Star Wars’ coolest helmet instead felt like a missed opportunity. The Book of Boba Fett picks up after Boba’s escape from the Sarlacc pit and repositions him as a reluctant daimyo in Mos Espa. We get flashbacks to his time with the Tuskens, slow-building gang rivalries, and… two full episodes that shift entirely to Din Djarin, Grogu, and Luke Skywalker. It’s tonally uneven and structurally bizarre.
Still, there are moments that land: Temuera Morrison gives Boba more vulnerability than the role’s ever had, and the expanded Tusken culture adds some texture. But the show’s inability to focus on its lead, or build any real momentum, makes it feel like filler in its own miniseries. When your best scenes don’t feature the title character, something’s off in the editing bay.
14 – Clone Wars (2003)
The prototype that proved Star Wars could rule TV.
Before Filoni’s 2008 reboot, there was Genndy Tartakovsky’s Clone Wars – a 2D animated micro-series that bridged Attack of the Clones and Revenge of the Sith. Lean, stylised, and action-heavy, it pushed Star Wars into experimental territory with striking visual direction and almost mythic pacing.
It’s short, bold, and influential – but very much a product of its time. There’s almost no dialogue, heavy stylisation over character depth, and it’s non-canon now. Still, fans owe it credit: this is where General Grievous got his menace and Anakin got his first real layers. A stylish what-if, but not quite essential.
13 – The Acolyte
Intriguing setup. Messy execution. A High Republic noir that doesn’t quite ignite.
Set 100 years before The Phantom Menace, The Acolyte had a killer pitch: explore the dark side’s rise and Jedi complacency in a pre-Skywalker galaxy. Visually slick with solid performances, especially from Amandla Stenberg and Lee Jung-jae, the show teases a more mystical, murky Force mythology.
But strong setup gives way to inconsistent pacing, flat characterisation, and world building that’s either under explained or overstuffed. Some of its big swings are admirable – it just doesn’t always land them. In a less crowded galaxy, it might have stood taller. As it is, it feels like a footnote to bigger stories.
12 – Tales of the Empire
Villain origin stories done right – But lacking something.
Tales of the Empire picks up the animated anthology format from Tales of the Jedi, shifting focus to the darker side of the galaxy. Split between Morgan Elsbeth and Barriss Offee, the six short episodes trace how each fell in line with the Empire. It’s visually polished and sharply edited, with a moody tone that deepens both characters – especially Barriss, who finally gets closure after The Clone Wars.
The problem? Six episodes just aren’t enough. The arcs feel compressed, and the structure leaves little room for emotional payoff. Still, as a focused exploration of character through choice and consequence, it punches above its weight – and proves the “Tales” format works for more than just Jedi.
11 – Tales of the Underworld
Six shorts, two icons, zero filler.
Tales of the Underworld continues the anthology format with a focus on bounty hunters and outlaws, spotlighting fan favourites Cad Bane and Asajj Ventress. Each of the six episodes dives into a different chapter of their criminal careers, combining gritty storytelling with punchy animation and stylish direction.
The show doesn’t overstay its welcome, and while it’s still short-form, it hits harder than its Jedi-centric predecessors. Ventress in particular steals the spotlight, offering a moody, morally grey exploration of her post-Sith survival. It’s sharp, focused, and finally gives Star Wars’ rogues the narrative attention they deserve.
10 – Visions
Star Wars goes off-canon – and off the rails (in a good way).
Visions is Star Wars unchained: an animated anthology that hands the galaxy to global studios and says, “Go wild.” The result? A vibrant, unpredictable, and wildly uneven collection of shorts, where samurai duel with sabres, droids become Jedi, and the rules of canon are delightfully ignored. Some stories hit hard. Others drift by. But none are boring.
What makes Visions work is its freedom. These aren’t corporate content drops – they’re passion projects. Volumes I and II showcase a wide range of cultures and art styles, from hyper-stylised anime to stop-motion and watercolour. Not every episode will land for every viewer, but the boldness alone earns it a spot this high.
9 – Obi-Wan Kenobi
What we wanted was closure. What we got was… mostly closure.
Set ten years after Revenge of the Sith, Obi-Wan Kenobi promised to bridge the gap between a broken Jedi Master and the wise recluse we meet in A New Hope. It had emotional weight, Ewan McGregor back in the robes, and a rematch with Vader that genuinely delivered. But for all its powerful moments, the series often felt padded and unsure of itself.
The Leia subplot was charming but overstretched. Reva’s arc had potential but lacked focus. And while the finale gave fans what they came for, much of the middle felt like a detour. It’s far from a failure – but it rarely rises to the level of its cast or its promise.
8 – Tales of the Jedi
Two Jedi. Two timelines. One quietly brilliant series.
Tales of the Jedi returns to familiar territory but uses its anthology format to sharpen it. Told across six short episodes, the series parallels the lives of Ahsoka Tano and Count Dooku – two Force users who walk wildly different paths. It’s a tight, elegant slice of Star Wars storytelling that says more in minutes than some shows do in hours.
The Dooku episodes in particular are standouts, adding emotional nuance to his fall and showing the Republic’s slow rot through a weary Jedi’s eyes. Ahsoka’s episodes are lighter, but still rich with character. It’s brief, yes – but beautifully told and quietly essential.
7 – Skeleton Crew
Star Wars goes Amblin – and mostly sticks the landing.
Skeleton Crew follows a group of kids lost in the galaxy, trying to find their way home. It’s equal parts Goonies and Ahsoka, set after the fall of the Empire but before the sequel trilogy. What makes it work is the balance: it’s kid-centric, sure, but never childish – with real stakes, strange new corners of the galaxy, and Jude Law bringing unexpected gravitas.
The pacing occasionally stumbles, and not all of the younger cast lands with the same impact. But the sense of wonder is strong, and the show’s commitment to tone and mystery makes it one of the most distinct entries in the modern lineup. A fresh direction that earns its place.
6 – The Bad Batch
Clone drama done right – and occasionally dragged out.
Spinning off from The Clone Wars, The Bad Batch follows a genetically enhanced squad of rogue clones navigating the rise of the Empire. At its best, it’s a gripping, emotional evolution of what Clone Wars built: exploring identity, loss, and loyalty through grizzled brothers and one sharp-witted young clone, Omega.
It’s not without its filler – especially in season one – but by the final season, the emotional stakes hit hard. The animation is top-tier, and the tone skews darker than expected. If you thought you were done caring about clones, The Bad Batch proves there’s still plenty of story (and heartbreak) left in the tank.
5 – Ahsoka
It’s Rebels: The Sequel – and that’s a good thing.
Ahsoka continues Dave Filoni’s long game, pulling characters and threads straight out of Rebels and giving them a live-action upgrade. At its centre is Rosario Dawson’s Ahsoka Tano – stoic, skilled, and more than a little weary. But she’s not alone. Sabine, Hera, Ezra, and Thrawn all return in a story that blends mysticism, legacy, and intergalactic peril.
It’s not the most accessible series if you haven’t seen Rebels, and its pacing is deliberate, bordering on slow. But the craftsmanship is high, the lore is rich, and the visuals are cinematic. For fans of Filoni’s animated universe, Ahsoka is a dream come true – Force wolves and all.
4 – Rebels
The real bridge between the prequels and the original trilogy.
Initially seen as Clone Wars’ kid-friendly cousin, Rebels quietly evolved into one of the most emotionally rich Star Wars stories to date. It follows Ezra Bridger and the Ghost crew as they spark rebellion, encounter familiar faces, and tangle with the chillingly brilliant Grand Admiral Thrawn. The stakes build season by season – and by the end, it lands as a powerful, deeply satisfying prequel to A New Hope.
Yes, the first season skews younger, and the early art style takes adjustment. But stick with it and you’ll find a show packed with heart, sacrifice, and mythic weight. Rebels earns its top-tier status through long-term storytelling and sheer character loyalty.
3 – The Mandalorian
This is the way Star Wars got cool again.
When The Mandalorian launched Disney+, it didn’t just kick off a streaming empire – it reignited global passion for Star Wars. Centered on the quiet, honour-bound Din Djarin and his instantly iconic companion Grogu (aka Baby Yoda), the show carved out a dusty, samurai-western corner of the galaxy that felt new but spiritually classic.
Seasons one and two are near-perfect, blending slick action, cinematic visuals, and just enough lore. Season three faltered slightly with broader Mandalore world-building, but the bond between Mando and Grogu remains the heart of it all. It’s crowd-pleasing, endlessly gif-able, and the most influential Star Wars project in a decade.
2 – The Clone Wars (2008–2020)
The show that saved the prequels – and then surpassed them.
What began as a rough-looking tie-in evolved into one of Star Wars’ most important projects. The Clone Wars redefined Anakin Skywalker, gave Obi-Wan new depth, and introduced Ahsoka Tano – now one of the franchise’s most beloved characters. It filled in the cracks between Episodes II and III with style, scale, and soul.
Across seven seasons, the series tackled politics, morality, trauma, and war – all while delivering some of the best animation and action in any Star Wars story. It took a while to find its footing, but by the final arc (hello, Siege of Mandalore), The Clone Wars wasn’t just great Star Wars – it was essential storytelling.
1 – Andor
No Jedi. No Force. Just rebellion done right.
Andor doesn’t feel like any other Star Wars show – and that’s exactly why it’s a masterpiece. Grounded, mature, and politically charged, it follows Cassian Andor as he transforms from aimless thief to revolutionary. But this isn’t just his story – it’s also about Mon Mothma’s resistance, Luthen’s moral compromises, and the cost of fighting tyranny.
Tony Gilroy’s writing is razor-sharp, the performances (particularly from Stellan Skarsgård and Denise Gough) are magnetic, and the production design is gritty and immersive. No lightsabers. No fan service. Just tension, sacrifice, and slow-burn storytelling at its finest. Andor isn’t just top-tier Star Wars – it’s top-tier television.