Dave Filoni’s “Ahsoka” series drops this month and he — and the series — deserve a vote of confidence.

Filoni has been behind some of the best shows in the franchise, including “The Clone Wars,” “Rebels,” and “The Mandalorian.” “Clone Wars” largely redeemed the prequel era to many fans, whereas “The Mandalorian” singlehandedly gave the franchise new life post “Episode 9 — The Rise of Skywalker,” which was a critically middling at best and terrible at worst, depending who you ask. With partner Jon Favreau, he has become an integral part to Disney’s live action “Star Wars” shows, sometimes known as the Mandoverse.

“Ahsoka” also has Favreau’s involvement, but the show is completely written by Filoni and is much more of his project, as is the character of the titular Ahsoka Tano, who first appeared in the “Clone Wars” movie, where she was initially not received warmly. She was seen as an unnecessary addition to many and her overconfidence and arrogance got on the nerves of many fans, which the subsequent show that movie launched fixed in a wonderful manner, humbling her and allowing her to mature and grow over the course of multiple shows. Ahsoka is unique in the regard that she ends up choosing a path outside the Jedi Order while still pursuing her own brand of light-side justice.

There are a few hallmarks of Filoni’s shows that have irked viewers, most recently viewers of “The Mandalorian” Season 2, which saw the introduction of many “Clone Wars” characters like Bo-Katan Kryze that saw a shift in the focus of the show, one that was ultimately necessary for the events of the reclamation of Mandalore in Season 3. Perhaps the most prominent one is to start with an imperfect equilibrium with characters that aren’t all initially likeable, with Ahsoka being the most prominent example.

This usually results in his shows starting off rocky, but it’s necessary in order for him to provide them with a narrative ark. For example, Ahsoka, and “Star Wars: Rebels” protagonist Ezra Bridger start their shows off with a certain sense of naivete, overconfidence and arrogance paired with inexperience and end their shows by making mature but difficult decisions that involve personal sacrifice. For Ahsoka, that means choosing to leave the order and the ways of the Jedi in both “Clone Wars” Seasons 6 and 7, and for Ezra, he sacrifices himself in order to exile Admiral Thrawn — a great threat and asset for the Empire — becoming a true Jedi much like his late master, Kanan Jarrus.

The way he develops characters is much like that of “Avatar: The Last Airbender,” which he worked on the first season of. “Avatar” is regarded as one of the finest animated show of all time, but not for its first season; what makes it special is its crescendo and resolution, and how its characters deal with conflict and their own inherent flaws. It has one of the best villain-to-hero arcs of all time in Prince Zuko, whom Filoni helped set up as an unlikeable hothead only concerned about reclaiming his honor and pleasing his dad, who transforms into his own person with a sense of self worth is not defined by his towering patriarch.

Zuko’s story only works because he is so unlikeable because we meet him, and “Avatar” only works as a show because its first season leaves room for improvement for all its characters. The same is true of most of Filoni’s shows. The fact that his characters are missing something in episode one is the point, though I can understand how some might not be able to get past those flaws and decide his shows are not for them.

Still, Filoni deserves the benefit of the doubt. He has delivered excellent shows consistently and is quite frankly one of the most creative people “Star Wars” has who gets George Lucas’ vision and how to flesh it out in a way that works, having served under Lucas for many years for “Clone Wars.” If you have any doubt that he gets “Star Wars,” watch the clip below on his explanation of “Duel of the Fates” in “Episode 1 — The Phantom Menace” and why that fight is important, as well as why we care about “Star Wars.”