That's an exceedingly good catch, PH. Implied, rather than shown. And not fully implied, either. TPM, in my view, has this running motif of fake transmissions, stalling tactics, and uncertain gestures that give dimensionality to its plot and themes. Consider how Padme twice consults a hologram of an old man which potentially conveys to her misleading or erroneous information: once as queen in the throne room (Palpatine) and once as "herself" on the queen's ship (Bibble). In a quirky contrast, Leia turns herself into a hologram and is then viewed by an old man. Oh, dear... this analysis... wading into dodgy territory, it is. Another great observation. I've said before that TPM's unconventional character patterning is one thing that puts it over the other movies. You have Qui-Gon, the father, taking several younger characters under his wing, the children. And he also shares a bond with the saga's pre-eminent "mother". It's essentially five mains -- Qui-Gon, Obi-Wan, Padme, Jar Jar, Anakin (in order of appearance) -- with Qui-Gon as the guiding patriarch. The other installments take a simpler path (three leads) that's arguably more effective (mainly, I suppose, because it's easier to create tension and energy with three rather than five lead characters in a two-hour film; and the audience can better focus on two or three leads instead of five), but not more rewarding. TPM shows the galaxy at a time when things were less coalesced. I think it's very satisfying to have that reflected on multiple levels of the diegesis. Me, too. Well, a little. There's a special alchemy to those characters that has become known all over the world, but on paper, they're a little thin. It's a relief, to me, that Lucas hardly chose to repeat himself in TPM. Rather, he opted to thicken the soup and open his galaxy up like never before. Some of TPM's enchanting lyricism, for me, comes from these newer characters being a little harder to define than their OT counterparts, while still fitting into a general SW mould. They're not mere clones of Han, Luke, Leia, or the older Obi-Wan. Qui-Gon, Obi-Wan, and Padme are individually and collectively restrained and taciturn, while Anakin and Jar Jar are less guarded and somewhat spry, yet they're a little harder to immediately file into a particular drawer. Though, of course, you CAN still find archetypes they fit, quite easily, but not necessarily a "one size fits all" paradigm. It's also worth stressing -- I forgot, before -- that TPM isn't merely "The PT: Part One". It's also an overture, of sorts, for the entire saga: PT, OT, and the upcoming ST. That necessitates certain stylistic conventions and design elements which clearly aggravated some people back in 1999, but if they took the time to try and understand how TPM is functioning on this level, they might be a little kinder to the film. There are lots of interesting brush-strokes in TPM which can't really be understood all that well in isolation: they must be resolved into a greater whole. That goes for all the films, but triply for TPM which works as a primer for the entire tapestry. In this way, I love its rather brash, redolent, vivacious tone, and how seemingly random it can be, since so much of what's packed inside its lofty interior can be scanned over and dismissed, but you'd be missing much of the depth and beauty of both *it* and the rest of the series were you to do so.