The “Avatar” franchise has consistently dazzled audiences with its breathtaking visuals, and “Fire and Ash” continues this tradition. However, with its extensive runtime of over three hours, it’s easy to overlook some of the more subtle details amidst the stunning scenes of the Pandoran ocean. If you’re curious about the Easter eggs or nuanced elements you might have missed, be sure to watch our video for a comprehensive breakdown.

In this installment, we meet a new adversary, Varang (played by Oona Chaplin) of the Ash People, who harbors deep resentment. Her anger stems from feeling forsaken by the Na’vi deity, Eywa, following the destruction of her home by a volcanic eruption. Keen observers might notice the remnants of a colossal hometree at the Ash People’s settlement. Each Na’vi clan has its own sacred tree, from the Tree of Souls in the original “Avatar” to the Metkayina’s underwater tree. The Ash People once had their own version, now lost, and Varang exploits this grief to rally her people against other Na’vi tribes.

The charred remains of the Mangkwan’s tree aren’t the only sinister aspect of this tribe. Varang and Quaritch (portrayed by Stephen Lang) serve as dark reflections of Jake (Sam Worthington) and Neytiri (Zoe Saldaña). While Jake immerses himself in Na’vi traditions, Quaritch manipulates them for personal gain. By the end of “Avatar: Fire and Ash,” Quaritch’s fate is uncertain, and there’s speculation that Varang might be carrying his child, setting the stage for an intriguing parallel with the offspring of Jake and Neytiri.

Director James Cameron’s “Avatar” series stands as a monumental achievement in filmmaking, drawing inspiration from classic science fiction. The franchise’s sweeping scope echoes the grandeur of “Dune,” and one could argue that elements of “2001: A Space Odyssey” influenced Cameron’s vision. In a pivotal scene, Kiri (Sigourney Weaver) finally connects with Eywa, Pandora’s global consciousness, which appears as a glowing Na’vi visage. This imagery closely resembles the Star Child from “2001,” symbolizing a new phase of human evolution. “Avatar: Fire and Ash” also explores evolutionary themes, as Spider (Jack Champion) can now breathe Pandora’s air, a result of his physiology integrating with Pandoran mycelium.

With “Avatar,” director James Cameron has created a hugely profitable film franchise that honors a lot of science fiction from the past. It has the epic scale of “Dune,” and intentional or not, it seems as though Cameron was inspired by “2001: A Space Odyssey” at least a little. Toward the end, Kiri (Sigourney Weaver) is finally able to connect with Eywa, the global consciousness of Pandora. It looks like a shining Na’vi face, and the way it’s framed is similar to that of the Star Child in “2001.” The Star Child is symbolic of the next stage of human evolution, and there are some evolutionary advancements in “Avatar: Fire and Ash” as Spider (Jack Champion) is now able to breathe Pandora’s air thanks to his physiology becoming infused with Pandoran mycelium. 

One film reference that definitely has to be intentional is Kiri quoting “Aliens.” She saves Neytiri by telling Varang, “Leave my mother alone, b****!” Anyone who’s a fan of “Aliens” surely recognized that as almost being verbatim to what Ellen Ripley (Weaver) says while saving Newt (Carrie Henn): “Get away from her, you b****!” 

Cameron also seemingly borrows from one of the most seminal pieces of intellectual property there is — the Bible. At one point, Jake considers killing Spider so that his new physiology can’t fall into the wrong hands, which would allow more humans to colonize Pandora. It feels akin to the story of Abraham being told by God to sacrifice his son, Isaac, only to be told to stop at the last second. Cameron pulls deep for his “Avatar” films, so make sure to check out the video above because we’re only scratching the surface here.