Go back and watch any SW movies and notice that the Stormtroopers can't hit shit, no matter how many of them there are. That's been a running joke for a while now, and that fan service made its way into the show.
Star Wars: The Mandalorian (official Series Discussion Thread) Update (Season 3 drops Feb 2023)
- Thread starter fonzerrillii
- Start date
Go back and watch any SW movies and notice that the Stormtroopers can't hit shit, no matter how many of them there are. That's been a running joke for a while now, and that fan service made its way into the show.
Yo...
Real talk
I gotta a little choked up my man got got
I have spoken forever
Real talk
I gotta a little choked up my man got got
I have spoken forever
Boom
Not a SW fan but I like this!
Hating ass mofos are nip picking the fuck out the show.
Bomb ass show. Last episode directed by ol boy who did ragnarok.
Outstanding!!
Outstanding!!
That "Darksaber" though... 
The Mandalorian finale had 7 big revelations (and two secret cameos)
By James Hibberd
December 27, 2019 at 06:00 AM EST
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'PAWN STARS' MEETS 'STAR WARS': SEE HOW MUCH HAN SOLO'S ACTUAL BLASTER IS WORTH
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The Mandalorian
TYPE
GENRE
The Mandalorian finale contained several big revelations expanding the mythology of the Disney+ series — and had a pair of cameos that you might have missed.
Spoilers ahead for the season one finale of The Mandalorian.
LUCASFILM
— The Mandalorian’s face: Mando finally permitted his helmet to be removed by IG-11 in order for the droid to save his life. And Mando looks like… well, he looks exactly like star Pedro Pascal, with no alterations to his appearance.
— The Mandalorian’s name: Din Djarin. (Pascal previously let this slip in an interview).
— The Mandalorian’s backstory: Stitching together fragments from previous episodes, we’re told Mando is not from Mandalore. His family was killed during an attack by B2 Super Battle Droids — which is why he mistrusts droids so much. He was rescued by a squad of Mandalorians and raised as one of their own. It’s unclear who was commanding those Battle Droids, however.
PAID CONTENT
Sponsored Video
Watch to learn more
From ny.gov
— Cara Dune is from Alderaan. As part of Moff Gideon’s helpful exposition, we learned the former Rebel shock trooper played by Gina Carano was from the doomed planet destroyed by the Empire’s Death Star in A New Hope.
— Greef Karga is a disgraced magistrate. So Carl Weathers character was a former lawman of sorts.
— Moff Gideon’s backstory: “Moff” is a rank so we already knew Giancarlo Esposito’s character was a former Imperial regional governor. Now we learn he was also a Imperial Security Bureau officer (which is like the Imperial KGB) during The Purge of Mandalore. Also, he was supposed to have been executed for war crimes.
— Gideon has the Darksaber! This is a biggie. The Darksaber is an ancient one-of-a-kind black lightsaber created by Tarre Vizslam — the first Mandalorian inducted into the Jedi Order. The weapon passed through various characters in its long history (including Darth Maul). Bo-Katan Kryze from The Clone Wars was the last known holder of the weapon. The finale suggests Gideon stole the Darksaber during The Purge of Mandalore.
And the two cameos were the actors who played the bantering, Baby Yoda-punching Scout Troopers in the opening scene: Jason Sudeikis (SNL, We’re the Millers) and Adam Pally (The Mindy Project).
There are also at least a couple huge burning questions left too — rather key questions that are being held for season 2 (or beyond).
— What’s up with Baby Yoda? The season repeatedly teased Baby Yoda’s backstory and why Gideon was so obsessed with The Child, but that surprisingly wasn’t further illuminated in the finale.
— Who was the booted figure at the end of Episode 5? Everybody seems convinced that was Boba Fett, but the figure did not make a second appearance this season.
By James Hibberd
December 27, 2019 at 06:00 AM EST
FBTwitterMore
Pause
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Loaded: 44.95%
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Fullscreen
YOU MIGHT LIKE
'PAWN STARS' MEETS 'STAR WARS': SEE HOW MUCH HAN SOLO'S ACTUAL BLASTER IS WORTH
×
The Mandalorian
TYPE
- TV Show
GENRE
The Mandalorian finale contained several big revelations expanding the mythology of the Disney+ series — and had a pair of cameos that you might have missed.
Spoilers ahead for the season one finale of The Mandalorian.
LUCASFILM
— The Mandalorian’s face: Mando finally permitted his helmet to be removed by IG-11 in order for the droid to save his life. And Mando looks like… well, he looks exactly like star Pedro Pascal, with no alterations to his appearance.
— The Mandalorian’s name: Din Djarin. (Pascal previously let this slip in an interview).
— The Mandalorian’s backstory: Stitching together fragments from previous episodes, we’re told Mando is not from Mandalore. His family was killed during an attack by B2 Super Battle Droids — which is why he mistrusts droids so much. He was rescued by a squad of Mandalorians and raised as one of their own. It’s unclear who was commanding those Battle Droids, however.
PAID CONTENT
Sponsored Video
Watch to learn more
From ny.gov
— Cara Dune is from Alderaan. As part of Moff Gideon’s helpful exposition, we learned the former Rebel shock trooper played by Gina Carano was from the doomed planet destroyed by the Empire’s Death Star in A New Hope.
— Greef Karga is a disgraced magistrate. So Carl Weathers character was a former lawman of sorts.
— Moff Gideon’s backstory: “Moff” is a rank so we already knew Giancarlo Esposito’s character was a former Imperial regional governor. Now we learn he was also a Imperial Security Bureau officer (which is like the Imperial KGB) during The Purge of Mandalore. Also, he was supposed to have been executed for war crimes.
— Gideon has the Darksaber! This is a biggie. The Darksaber is an ancient one-of-a-kind black lightsaber created by Tarre Vizslam — the first Mandalorian inducted into the Jedi Order. The weapon passed through various characters in its long history (including Darth Maul). Bo-Katan Kryze from The Clone Wars was the last known holder of the weapon. The finale suggests Gideon stole the Darksaber during The Purge of Mandalore.
And the two cameos were the actors who played the bantering, Baby Yoda-punching Scout Troopers in the opening scene: Jason Sudeikis (SNL, We’re the Millers) and Adam Pally (The Mindy Project).
There are also at least a couple huge burning questions left too — rather key questions that are being held for season 2 (or beyond).
— What’s up with Baby Yoda? The season repeatedly teased Baby Yoda’s backstory and why Gideon was so obsessed with The Child, but that surprisingly wasn’t further illuminated in the finale.
— Who was the booted figure at the end of Episode 5? Everybody seems convinced that was Boba Fett, but the figure did not make a second appearance this season.
EXPLAINS THE GLEAMING WHITE CHANGE
What is your review of The Mandalorian Season 1?
https://www.quora.com/#
I will begin my review of The Mandalorian with a Star Trek reference.
Part way into filming for Star Trek 2: The Wrath of Khan, Leonard Nimoy realized a powerful truth. Star Trek was back on track for the first time since the second season of the original series, 15 years earlier. He even lamented the death of Spock, something he had supported, because it looked like he was abandoning a ship that had just been saved. The film was an enormous critical and popular hit, which resonated across all demographics. It did nothing less than save the franchise.
The Mandalorian is a kind of sci-fi savior as well. I believe it’s the best live action event in the Star Wars universe since The Empire Strikes Back. I put in the ‘live action’ qualifier out of respect for Rebels, the animated series. But the Mandalorian is already demonstrating a reach far beyond that show. The youth are engaged, people are raving about it across all social media platforms, and there are many new Star Wars fans as a result. With all the toil and trouble of the latest film trilogy, the Mandalorian represents nothing less than a New Hope for the Star Wars universe. The Force is strong in this one.
And irresistibly cute. That plays a big part, I know. But it is unfair to dismiss the series as nothing more than a vehicle for Baby Yoda. It is a soaring action-adventure, with wonderful dramatic elements. Like so much great drama, one relationship resonates at its core, and is realized to great effect.
The Mandalorian, and we finally have his name, Din Djarin, looks at Baby Yoda and sees himself. He too was a child in desperate need of saving. He routinely cites the phrase “This is the way.” He betrays a guild code while being true to a far deeper one, the code of the Mandalorian he has become. In saving the child he saves his own symbolic self. The two become one in purpose, and share a destiny.
The entire series hinges on this, and works so wonderfully because of it. We can all see ourselves in one or both of these figures. Maybe we long for a father figure like Din Djarin, or wish we could be like him to others. Although an inter-species relationship, it is perfectly human and a joy to behold.
The series isn’t perfect. Nothing is. Some legitimate criticism can be found in the formulaic nature of some episodes, and there is a clear mid season drop. But the Mandalorian recovers wonderfully, and soars to its greatest heights (so far) in the season’s homestretch.
Let’s take a stroll through the eight episodes, and touch on some highlights.
Episode 1 - The Mandalorian
The series opens with our title character in pedal to the metal Bad Ass mode. This is vital. He is the lone gunslinger, after all. A man who, for all appearances, is only out for himself. He is destined to become one half of an ancient trope - Lone wolf and cub. That trope only works if we first see the wolf’s fangs. The opening showdown in the cantina and the carbon freezing of his latest acquisition (I could taste that character’s terror as he saw what was coming) achieves this perfectly.
The world of The Mandalorian is fully realized in the scenes that follow, and with an economy of words. The guild and its code are embodied in Greef Carga (Carl Weathers) and The Client (Werner Herzog) and we learn just enough about the Mandalorian’s own clan from his brief encounter with The Armorer (Emily Swallow) to yearn for more. A great strength of the series is its ability to present large themes through small, intimate encounters. The greatest encounter of all is saved for that final shot, when a tiny green hand reaches out to our lone gunslinger, who isn’t destined to be alone after all.
Episode 2 - The Child
Have a look at that pic. It’s proof that this series is at its heart a Western in Space. While it’s true George Lucas used Western allusions in Star Wars, here the genre comes front and center. I’m reminded of another Star Trek reference. Gene Roddenberry pitched Star Trek as ‘Wagon Train to the stars’, citing an enormously popular Old West series of the day. For The Mandalorian the parallels to the classic Western are even more apparent. And it certainly helps when you have a character like Kuiil, played by Nick Nolte, an actor who was born a century too late. He should have come of age in the latter 1800s, in a place like Tombstone. But then we would have missed his radiant screen presence. (Hollywood almost did, actually. His road to stardom was a long and rocky one.)
Kuiil the Ugnaught is a reminder that good characters are representative. They reflect something grander than themselves. He is a simple man of honor, defined, like the Mandalorian, by his fierce allegiance to a code. Work hard, and be true to your word. I’ve seen reviews that have bashed his catch phrase, “I have spoken.” I like it a lot. They reflect a kind of distillation, where a few simple words catch the essence of something far larger. I haven’t heard anyone be critical of the words “This is the way.” What’s the difference, really?
Episode two is the yin to episode one’s yang. The cub steps to the fore, and shows that he too has teeth. But first we have another old west trope played out to exciting and even hilarious effect. It’s a train robbery, or botched one, on the Jawa Express. Everything about it works. Including the Mandalorian’s defeat, as it spins us off into the quest that follows, and the big reveal, where we learn that the cub’s teeth are sharp indeed.
By the end of episode two the series is completely established. It’s true that the mysterious, dark forces that want the ‘package’ are yet to be identified, but they don’t need to be. They are there, lurking in the shadows, exerting their influence. And we can taste their desire for the little one, and for the staggering power the child wields.
Episode 3 - The Sin
First a shout out to fellow Canadian Deborah Chow, who directed episodes 3 and 4. She is in charge of the upcoming Obi-Wan series, and based on her work here (and in one of my favorite shows, Better Call Saul) that series looks to be in very capable hands.
Episode 3 is among the show’s finest. It includes a quiet moment that is a masterclass called ‘How to show emotions while wearing a helmet, and without saying anything.’
The Mandalorian’s personal arc is front and center here. It seems unconscionable that he hands over the child, and takes that large bounty for that small package. But actually he keeps his word by doing so. The requirements of the guild code are honored. Then, freshly re-suited, he returns to his ship and contemplates a ball.
The very best writing can have next to no writing at all, and not even a single word of dialogue. That’s the case here, as The Mandalorian looks at the ball the child took. In the silence we feel the emptiness inside him. We can touch his memories, the terror he knew as a child, and the agony he knows now. We feel the click when he makes his decision, the most important one in the series, I suspect, in this or any season.
What follows is a wonder to behold. High Noon showdowns don’t get better than this, no matter the time of day. But it all hangs on that quiet moment, when he realizes he cannot be the man he thought he was. He is in a sense the child we will see later, reaching out and taking the hand of the one who saves him. He realizes that he can do no less than what was done for him. That scene, alone on his ship, is the finest dramatic moment I have seen in a very long time.
Episode 4 - Sanctuary
I’m glad I’m living now. There are many reasons, really, but one of them is my admiration of strong female characters. I think women should rule the world. I mean look at the mess we men have made of things. Really there’s nowhere to go but up. But I’ll save further thoughts on my feminist sensibilities for another time.
I chose to post a pic of the superb Gina Carano above, instead of the character Cara Dune that she portrays, because I’m in awe of her work here. She was also great in Deadpool, but here we see what can happen when a wonderful actor sinks her teeth into a juicy role. Cara Dune is even tougher than that Deadpool mutant. She’s better because she’s not invulnerable. She’s tougher than the Mandalorian, who looks like a novice when they fight. But for all of her ferocious competence, Carano imbues her character with a profound depth of compassion.
That is the look of a fierce warrior with the noblest of hearts. There is no retreat and no surrender in her. She shines in every single scene graced with her presence.
Still, I was a little wary as this episode progressed. A formula was emerging. One I call ‘Get trapped, get help, get out.’ The mid season downturn I mentioned begins here, in an episode that has so much to commend it. The village and its inhabitants are wonderfully realized, as is the lead up to and execution of the final showdown. That Imperial Walker filled me with more dread than the Death Star did.
It embodies the terror that made the Galactic Empire what it was. Something the Battle of Endor failed to do in each and every shot. And yet, I found myself distracted by the formula. Here’s a question you can ask yourself - Would it matter if we replaced our action star with any other character? Would it change the story we are watching? In much of this episode I don’t think it would. But it’s not completely true here. There are poignant moments, most especially in his encounter with the young widow at the end, and his refusal to accept the offer of herself, and an entirely different life.
Episode 5 - The Gunslinger
My trepidation deepened with the introduction of Toro Calican, the young gunslinger desperate to make his mark, and be noticed by the guild. This guy is about one half of a one dimensional character. There was less than nothing about him that held my interest, and I saw his act of betrayal about a million parsecs off.
Incidentally, if you want to see the young and anxious gunslinger done right, watch the greatest Western ever filmed, Unforgiven.
The best part of episode 5 is their quarry, Fennec Shand. played by Ming-Na Wen, who does amazing work in very limited screen time.
The first shot of her confirms the build up given to the character. Delaying a character’s entrance to strengthen it is an old device, but it’s well done here. She is dangerous, cunning, a joy to behold. There’s much online chatter about whether she’s dead. I hope she isn’t. I don’t know who the figure is who finds her in the final shot of the episode, but my guess is he ran a fried chicken/crystal meth business in an alternate reality. More on him later.
Overall the best thing about this episode is the look of it. And it’s great to see the Mos Eisley cantina run by droids. After all, there was a time they weren’t even welcome there.
Episode 6 - The Prisoner
The series reaches its low point here. To be fair there are some rave reviews of it to be found online. And they are wrong. Remember that question I asked, about whether the main character can be replaced in a given episode. Well Mando is at his most replaceable here. While some of the action sequences are memorable (and I love how those traitorous teammates end up sharing a cell in the end) I felt like I had landed in a series that was far less special than The Mandalorian. Like, say,
Part of the problem is the way Baby Yoda is shunted aside in this episode. I know the Mandalorian is trying to protect him, but it leaves us with an episode that does next to nothing in moving the narrative forward. I was concerned when it was over, as we were running out of time. Would the major story threads be addressed in the mere two episodes to come?
Episode 7 - The Reckoning
The answer is a resounding yes. The final two episodes bring the series to soaring heights. Minutes into episode 7 I had completely forgotten about the mid season down turn. It was nothing but up, up and away.
A moment here to offer appreciation for the great Carl Weathers. (Who will take the director’s chair in season 2!) His Greef Karga is compelling in every single shot we find him in. Weathers has the capacity to reveal character in total silence. There is the swagger, the confident smirk, and those eyes that assess everything around him all the time, weighing the potential threat or usefulness of anyone he sees. And his diction is perfect! Pay attention to his line delivery. Any line. He reminds me of Alec Guinness, who kept a notebook in which he broke down every bit of dialogue, with accents and spacing. I’m in awe of Weathers’ work here.
The set up of this episode put everything back on track. Karga offers the Mandalorian a deal he cannot refuse. Take out the suddenly unstable and tyrannical Client and Mando can keep the child, and be reinstated in the Guild to boot. Our hero enlists the aid of a certain shock trooper turned mercenary. When Cara Dune says “I’m in” you know it’s all the way. That’s just how she rolls.
From set up to build up to final showdown everything whisks along like a certain YT-1300 Corellian light freighter on the Kessel run. Baby Yoda’s force choke of Cara is inspired, and brings out a theme hinted at elsewhere. Is there darkness in this frog eating little green guy? Later we will see him smirk as his enemies are mowed down. It seems he likes it, rather a lot.
Then there’s the best mercenary turned nurse droid in the history of any galaxy.
I think Ig-11 is a kind of mirror for The Mandalorian himself. Their arcs run parallel. Both are mercenaries who become care givers, entrusted with the same child. There’s an irony in The Mandalorian’s hatred of Ig-11’s kind. He’s blind to the traits they share. (I’m guessing that the events of episode 8 will help change the Mandalorian’s perspective.)
I love this episode. But there are some cracks around the edges. The Mandalorian seems a little naive in accepting this mission, and it looks like he would have ended up dead if Greef Karga didn’t have a Force healing induced change of heart. I also wasn’t thrilled about the demise of The Client. But it’s understandable that he’s taken out of the way. The showdown here is marvelous to behold.
And just when I thought things couldn’t get better, Gus Fring shows up.
Now, I always suspected that Gus Fring was a Sith Lord. My other choice was a vampire, but he’s in too many daytime scenes. Joking aside, I’m really at a loss to see a significant difference between the characters of Gus Fring and Moff Gideon. And I simply don’t care. If Disney announced a Moff Gideon spin off series tomorrow I’d throw a big party, and make little dark sabers to hand out at it. He’s just that great.
Then there’s the heartbreaking finale. A shot for the ages, that shows just how impacting a well realized character can be on living hearts.
Episode 8 - Redemption
With one exception, I wouldn’t change anything about the season finale if I had the power to do so. Not a single shot, or line of dialogue, or expression from any actor. It is an episode that shows what television can be. If it’s even right to call it television anymore (Did you watch it on one?)
I recall a very small number of television moments that have completely and utterly wowed me. The Breaking Bad episode Ozymandius. The best parts of True Detective, Season 1. The Original Series Star Trek episode Balance of Terror. The list goes on, but it is a short one. And the finale of the Mandalorian’s first season is on it.
Only one thing annoyed me, and it did so intensely. I am not capable of finding mirth in the abuse of a child. I might get some blow back on this, and some might say ‘Like, duh, they’re storm troopers.’ I don’t care. Don’t beat children of any species, not even in the world of make believe. Got it? Good.
Ig-11’s eruption onto the scene with Baby Yoda in his arms is the best Cavalry charge since the Charge of the Light Brigade. (Which was a tactical success. Look it up!) Baby Yoda’s moment to shine, where he holds the fires of hell at bay, left me giddy. The reveal of the Mandalorian was a happy surprise. I had a feeling the series would be like V for Vendetta, where we never got to see the face behind the mask. But I’m glad we did here. His face, haggard and bloodied, is the right one. Those haunted eyes will stay with me, even if we never see them again.
Some might quibble with Ig-11’s sacrifice. Why didn’t the Storm Troopers start shooting on sight? Well, he looked to be unarmed, and pretty much everyone who saw him earlier was dead. In any event the execution of that scene is marvelously realized. It does leave me wondering though. I mentioned that Ig-11 and The Mandalorian have similar arcs. In the fullness of time, will they have similar ends? It seems our Mandalorian, Din Djarin, was made for the ultimate sacrifice. I’m in no rush to see it, but I have a feeling it will come.
Then the dramatic showdown, where our hero goes toe to toe with a tie fighter, and wins. And a final shot for the ages, filled with portents for great confrontations to come.
The Mandalorian is proof that the world is still starving for a great idea. Build it, and they will come. Star Wars has found its savior. Kids are finding the joy in it, and are thrilling to the wonder of it, thanks to the first live action series in the Star Wars universe.
It will come as no surprise, but season two has been officially green lighted. Can’t wait to see you there!
https://www.quora.com/#
I will begin my review of The Mandalorian with a Star Trek reference.
Part way into filming for Star Trek 2: The Wrath of Khan, Leonard Nimoy realized a powerful truth. Star Trek was back on track for the first time since the second season of the original series, 15 years earlier. He even lamented the death of Spock, something he had supported, because it looked like he was abandoning a ship that had just been saved. The film was an enormous critical and popular hit, which resonated across all demographics. It did nothing less than save the franchise.
The Mandalorian is a kind of sci-fi savior as well. I believe it’s the best live action event in the Star Wars universe since The Empire Strikes Back. I put in the ‘live action’ qualifier out of respect for Rebels, the animated series. But the Mandalorian is already demonstrating a reach far beyond that show. The youth are engaged, people are raving about it across all social media platforms, and there are many new Star Wars fans as a result. With all the toil and trouble of the latest film trilogy, the Mandalorian represents nothing less than a New Hope for the Star Wars universe. The Force is strong in this one.
And irresistibly cute. That plays a big part, I know. But it is unfair to dismiss the series as nothing more than a vehicle for Baby Yoda. It is a soaring action-adventure, with wonderful dramatic elements. Like so much great drama, one relationship resonates at its core, and is realized to great effect.
The Mandalorian, and we finally have his name, Din Djarin, looks at Baby Yoda and sees himself. He too was a child in desperate need of saving. He routinely cites the phrase “This is the way.” He betrays a guild code while being true to a far deeper one, the code of the Mandalorian he has become. In saving the child he saves his own symbolic self. The two become one in purpose, and share a destiny.
The entire series hinges on this, and works so wonderfully because of it. We can all see ourselves in one or both of these figures. Maybe we long for a father figure like Din Djarin, or wish we could be like him to others. Although an inter-species relationship, it is perfectly human and a joy to behold.
The series isn’t perfect. Nothing is. Some legitimate criticism can be found in the formulaic nature of some episodes, and there is a clear mid season drop. But the Mandalorian recovers wonderfully, and soars to its greatest heights (so far) in the season’s homestretch.
Let’s take a stroll through the eight episodes, and touch on some highlights.
Episode 1 - The Mandalorian
The series opens with our title character in pedal to the metal Bad Ass mode. This is vital. He is the lone gunslinger, after all. A man who, for all appearances, is only out for himself. He is destined to become one half of an ancient trope - Lone wolf and cub. That trope only works if we first see the wolf’s fangs. The opening showdown in the cantina and the carbon freezing of his latest acquisition (I could taste that character’s terror as he saw what was coming) achieves this perfectly.
The world of The Mandalorian is fully realized in the scenes that follow, and with an economy of words. The guild and its code are embodied in Greef Carga (Carl Weathers) and The Client (Werner Herzog) and we learn just enough about the Mandalorian’s own clan from his brief encounter with The Armorer (Emily Swallow) to yearn for more. A great strength of the series is its ability to present large themes through small, intimate encounters. The greatest encounter of all is saved for that final shot, when a tiny green hand reaches out to our lone gunslinger, who isn’t destined to be alone after all.
Episode 2 - The Child
Have a look at that pic. It’s proof that this series is at its heart a Western in Space. While it’s true George Lucas used Western allusions in Star Wars, here the genre comes front and center. I’m reminded of another Star Trek reference. Gene Roddenberry pitched Star Trek as ‘Wagon Train to the stars’, citing an enormously popular Old West series of the day. For The Mandalorian the parallels to the classic Western are even more apparent. And it certainly helps when you have a character like Kuiil, played by Nick Nolte, an actor who was born a century too late. He should have come of age in the latter 1800s, in a place like Tombstone. But then we would have missed his radiant screen presence. (Hollywood almost did, actually. His road to stardom was a long and rocky one.)
Kuiil the Ugnaught is a reminder that good characters are representative. They reflect something grander than themselves. He is a simple man of honor, defined, like the Mandalorian, by his fierce allegiance to a code. Work hard, and be true to your word. I’ve seen reviews that have bashed his catch phrase, “I have spoken.” I like it a lot. They reflect a kind of distillation, where a few simple words catch the essence of something far larger. I haven’t heard anyone be critical of the words “This is the way.” What’s the difference, really?
Episode two is the yin to episode one’s yang. The cub steps to the fore, and shows that he too has teeth. But first we have another old west trope played out to exciting and even hilarious effect. It’s a train robbery, or botched one, on the Jawa Express. Everything about it works. Including the Mandalorian’s defeat, as it spins us off into the quest that follows, and the big reveal, where we learn that the cub’s teeth are sharp indeed.
By the end of episode two the series is completely established. It’s true that the mysterious, dark forces that want the ‘package’ are yet to be identified, but they don’t need to be. They are there, lurking in the shadows, exerting their influence. And we can taste their desire for the little one, and for the staggering power the child wields.
Episode 3 - The Sin
First a shout out to fellow Canadian Deborah Chow, who directed episodes 3 and 4. She is in charge of the upcoming Obi-Wan series, and based on her work here (and in one of my favorite shows, Better Call Saul) that series looks to be in very capable hands.
Episode 3 is among the show’s finest. It includes a quiet moment that is a masterclass called ‘How to show emotions while wearing a helmet, and without saying anything.’
The Mandalorian’s personal arc is front and center here. It seems unconscionable that he hands over the child, and takes that large bounty for that small package. But actually he keeps his word by doing so. The requirements of the guild code are honored. Then, freshly re-suited, he returns to his ship and contemplates a ball.
The very best writing can have next to no writing at all, and not even a single word of dialogue. That’s the case here, as The Mandalorian looks at the ball the child took. In the silence we feel the emptiness inside him. We can touch his memories, the terror he knew as a child, and the agony he knows now. We feel the click when he makes his decision, the most important one in the series, I suspect, in this or any season.
What follows is a wonder to behold. High Noon showdowns don’t get better than this, no matter the time of day. But it all hangs on that quiet moment, when he realizes he cannot be the man he thought he was. He is in a sense the child we will see later, reaching out and taking the hand of the one who saves him. He realizes that he can do no less than what was done for him. That scene, alone on his ship, is the finest dramatic moment I have seen in a very long time.
Episode 4 - Sanctuary
I’m glad I’m living now. There are many reasons, really, but one of them is my admiration of strong female characters. I think women should rule the world. I mean look at the mess we men have made of things. Really there’s nowhere to go but up. But I’ll save further thoughts on my feminist sensibilities for another time.
I chose to post a pic of the superb Gina Carano above, instead of the character Cara Dune that she portrays, because I’m in awe of her work here. She was also great in Deadpool, but here we see what can happen when a wonderful actor sinks her teeth into a juicy role. Cara Dune is even tougher than that Deadpool mutant. She’s better because she’s not invulnerable. She’s tougher than the Mandalorian, who looks like a novice when they fight. But for all of her ferocious competence, Carano imbues her character with a profound depth of compassion.
That is the look of a fierce warrior with the noblest of hearts. There is no retreat and no surrender in her. She shines in every single scene graced with her presence.
Still, I was a little wary as this episode progressed. A formula was emerging. One I call ‘Get trapped, get help, get out.’ The mid season downturn I mentioned begins here, in an episode that has so much to commend it. The village and its inhabitants are wonderfully realized, as is the lead up to and execution of the final showdown. That Imperial Walker filled me with more dread than the Death Star did.
It embodies the terror that made the Galactic Empire what it was. Something the Battle of Endor failed to do in each and every shot. And yet, I found myself distracted by the formula. Here’s a question you can ask yourself - Would it matter if we replaced our action star with any other character? Would it change the story we are watching? In much of this episode I don’t think it would. But it’s not completely true here. There are poignant moments, most especially in his encounter with the young widow at the end, and his refusal to accept the offer of herself, and an entirely different life.
Episode 5 - The Gunslinger
My trepidation deepened with the introduction of Toro Calican, the young gunslinger desperate to make his mark, and be noticed by the guild. This guy is about one half of a one dimensional character. There was less than nothing about him that held my interest, and I saw his act of betrayal about a million parsecs off.
Incidentally, if you want to see the young and anxious gunslinger done right, watch the greatest Western ever filmed, Unforgiven.
The best part of episode 5 is their quarry, Fennec Shand. played by Ming-Na Wen, who does amazing work in very limited screen time.
The first shot of her confirms the build up given to the character. Delaying a character’s entrance to strengthen it is an old device, but it’s well done here. She is dangerous, cunning, a joy to behold. There’s much online chatter about whether she’s dead. I hope she isn’t. I don’t know who the figure is who finds her in the final shot of the episode, but my guess is he ran a fried chicken/crystal meth business in an alternate reality. More on him later.
Overall the best thing about this episode is the look of it. And it’s great to see the Mos Eisley cantina run by droids. After all, there was a time they weren’t even welcome there.
Episode 6 - The Prisoner
The series reaches its low point here. To be fair there are some rave reviews of it to be found online. And they are wrong. Remember that question I asked, about whether the main character can be replaced in a given episode. Well Mando is at his most replaceable here. While some of the action sequences are memorable (and I love how those traitorous teammates end up sharing a cell in the end) I felt like I had landed in a series that was far less special than The Mandalorian. Like, say,
Part of the problem is the way Baby Yoda is shunted aside in this episode. I know the Mandalorian is trying to protect him, but it leaves us with an episode that does next to nothing in moving the narrative forward. I was concerned when it was over, as we were running out of time. Would the major story threads be addressed in the mere two episodes to come?
Episode 7 - The Reckoning
The answer is a resounding yes. The final two episodes bring the series to soaring heights. Minutes into episode 7 I had completely forgotten about the mid season down turn. It was nothing but up, up and away.
A moment here to offer appreciation for the great Carl Weathers. (Who will take the director’s chair in season 2!) His Greef Karga is compelling in every single shot we find him in. Weathers has the capacity to reveal character in total silence. There is the swagger, the confident smirk, and those eyes that assess everything around him all the time, weighing the potential threat or usefulness of anyone he sees. And his diction is perfect! Pay attention to his line delivery. Any line. He reminds me of Alec Guinness, who kept a notebook in which he broke down every bit of dialogue, with accents and spacing. I’m in awe of Weathers’ work here.
The set up of this episode put everything back on track. Karga offers the Mandalorian a deal he cannot refuse. Take out the suddenly unstable and tyrannical Client and Mando can keep the child, and be reinstated in the Guild to boot. Our hero enlists the aid of a certain shock trooper turned mercenary. When Cara Dune says “I’m in” you know it’s all the way. That’s just how she rolls.
From set up to build up to final showdown everything whisks along like a certain YT-1300 Corellian light freighter on the Kessel run. Baby Yoda’s force choke of Cara is inspired, and brings out a theme hinted at elsewhere. Is there darkness in this frog eating little green guy? Later we will see him smirk as his enemies are mowed down. It seems he likes it, rather a lot.
Then there’s the best mercenary turned nurse droid in the history of any galaxy.
I think Ig-11 is a kind of mirror for The Mandalorian himself. Their arcs run parallel. Both are mercenaries who become care givers, entrusted with the same child. There’s an irony in The Mandalorian’s hatred of Ig-11’s kind. He’s blind to the traits they share. (I’m guessing that the events of episode 8 will help change the Mandalorian’s perspective.)
I love this episode. But there are some cracks around the edges. The Mandalorian seems a little naive in accepting this mission, and it looks like he would have ended up dead if Greef Karga didn’t have a Force healing induced change of heart. I also wasn’t thrilled about the demise of The Client. But it’s understandable that he’s taken out of the way. The showdown here is marvelous to behold.
And just when I thought things couldn’t get better, Gus Fring shows up.
Now, I always suspected that Gus Fring was a Sith Lord. My other choice was a vampire, but he’s in too many daytime scenes. Joking aside, I’m really at a loss to see a significant difference between the characters of Gus Fring and Moff Gideon. And I simply don’t care. If Disney announced a Moff Gideon spin off series tomorrow I’d throw a big party, and make little dark sabers to hand out at it. He’s just that great.
Then there’s the heartbreaking finale. A shot for the ages, that shows just how impacting a well realized character can be on living hearts.
Episode 8 - Redemption
With one exception, I wouldn’t change anything about the season finale if I had the power to do so. Not a single shot, or line of dialogue, or expression from any actor. It is an episode that shows what television can be. If it’s even right to call it television anymore (Did you watch it on one?)
I recall a very small number of television moments that have completely and utterly wowed me. The Breaking Bad episode Ozymandius. The best parts of True Detective, Season 1. The Original Series Star Trek episode Balance of Terror. The list goes on, but it is a short one. And the finale of the Mandalorian’s first season is on it.
Only one thing annoyed me, and it did so intensely. I am not capable of finding mirth in the abuse of a child. I might get some blow back on this, and some might say ‘Like, duh, they’re storm troopers.’ I don’t care. Don’t beat children of any species, not even in the world of make believe. Got it? Good.
Ig-11’s eruption onto the scene with Baby Yoda in his arms is the best Cavalry charge since the Charge of the Light Brigade. (Which was a tactical success. Look it up!) Baby Yoda’s moment to shine, where he holds the fires of hell at bay, left me giddy. The reveal of the Mandalorian was a happy surprise. I had a feeling the series would be like V for Vendetta, where we never got to see the face behind the mask. But I’m glad we did here. His face, haggard and bloodied, is the right one. Those haunted eyes will stay with me, even if we never see them again.
Some might quibble with Ig-11’s sacrifice. Why didn’t the Storm Troopers start shooting on sight? Well, he looked to be unarmed, and pretty much everyone who saw him earlier was dead. In any event the execution of that scene is marvelously realized. It does leave me wondering though. I mentioned that Ig-11 and The Mandalorian have similar arcs. In the fullness of time, will they have similar ends? It seems our Mandalorian, Din Djarin, was made for the ultimate sacrifice. I’m in no rush to see it, but I have a feeling it will come.
Then the dramatic showdown, where our hero goes toe to toe with a tie fighter, and wins. And a final shot for the ages, filled with portents for great confrontations to come.
The Mandalorian is proof that the world is still starving for a great idea. Build it, and they will come. Star Wars has found its savior. Kids are finding the joy in it, and are thrilling to the wonder of it, thanks to the first live action series in the Star Wars universe.
It will come as no surprise, but season two has been officially green lighted. Can’t wait to see you there!
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I watched half of the episodes yesterday and today. I really enjoy the first season. There are some things they did good and some things that didn't make sense but overall I like it all.
What didn't make sense other than the bad guys having shitty aim?