‘The Mandalorian’, and The Rise of the New Disney Dynasty
Over long year of high anticipation, we are now two weeks into enjoying Disney’s game changing streaming service, Disney+. (With first traces of the idea to get into the streaming world appearing sparsley back in 2009). This fantastic platform comes nearly 12 months after a formal announcement from Disney, stating that they would be using their strong arm in an excellent strategy to slowly pull all of their content from various services (like Netflix), making everything exclusively available on a service that gathers all of your favorite movies and shows into one place. Holding an assortment of mountainous acquisitions made in the past decade and a half, there is just so much to choose from on this user-friendly interface. You feel like watching works from Disney Renaissance? (1990s gems like The Lion King, or Aladdin). Go ahead. Or maybe you feel like watching Thanos take control of the universe with a single *snap!*; also a great choice. Heck! You could even watch the stunning photorealistic alien world of the Na’vi in Avatar. Everything’s cool. But whatever you choose, just please make sure it isn’t The Country Bears, for all that is good and pure in this world.
And don't forget that you have access to a handsome assortment of fresh content streaming solely on the new service, with titles including the High School Musical: The Series revamp, a live-action remake of Lady and the Tramp, and The World According to Jeff Goldblum travel show at the ready, for you viewing pleasure (read full content list here). But certainly at the forefront of originals that Disney+ has to offer is the recently acclaimed galactic adventure series, The Mandalorian. The live-action Star Wars spinoff show is only 3 chapters into its 8 episode run of this season, and is already receiving buzz from this way and that on its spectacular cinematic quality, riveting action, and cute sidekicks. Anyway, let’s commence this review with a quick look at the strong storyline.
This series takes place just a few years after the fall of the Sith’s cruel Empire in Return of the Jedi, to show a collective galaxy healing from decades of oppression, while the remaining baddies live in exile, far from the reaches of a growing New Republic. The pilot episode begins with an introduction to a mysterious bounty hunter (played by Games of Thrones and Narcos alum, Pedro Pascal). He treks into a cantina (space bar—a great place, in these films, to witness the expanding scope of creatures that infinitely inhabit the galaxy) and instantly lists himself, both to the audience and to his surroundings, as someone who is not to be trifled with, as he starts and finishes a bar slaughter quicker than one can blink thrice over. His raw and chiseled Mandalorian armor informs a stoic and menacing appearance, seen before with likes of similarly infamous bounty hunters of the past, Jango Fett and/or Boba Fett.
Famous for gathering his targets unharmed (therefore, of much higher value), a great show of his skill and dedication, our hunter returns to meet with his contact from the Bounty Hunters' Guild, Greefa Carga (Carl Weathers), who continues to meet the his with compensations, most insufficient. But grown tired of taking on these insignificant jobs, our hunter is directed to a vague customer, known only as the “The Client” (played curiously by director Werner Herzog). Traveling to meet this new potential employer, our main character is given a briefing on the requirements, vague leads, and remuneration that constitute [The Client’s] shady proposition to acquire an individual. So, deciding to undertake this treacherous bounty, and its handsome reward, we watch intently as the skilled mercenary of Mandalore travels to an arid region located in the Outer Rim of the galaxy to collect his desired target. And when he encounters a friendly Uhnaught farmer by the name Kuiil (Nick Nolte), he is taught the best techniques for treading the rocky planet, and how to wisely raid the guarded fortress, all while holding a strategy to keep himself alive in the process of the risky venture. But what he’ll find in the execution of this mission is something he would have never imagined. It is through swindling, chance, and daring that he stakes his very life to protect an “asset” that proves to be much more valuable than any material wealth he so desired. Through the emotionless visor of our character, we begin to make for ourselves a painting of what individual lies under the secretive mask (which is never removed), and how, for the first time, he see himself reflected in the eyes of another. This is the momentous launch The Mandalorian.
The rugged and nameless Mandalorian bounty hunter of our story (play by Pedro Pascal) bags his first target of the series (Disney/Lucasfilm Ltd.)
In the 40 minute span of the Episode 1, we are just sort of dropped into the mix of what’s happening, and are otherwise not too informed about our main character, or his exotic surroundings. In a big sense though, that excites me more. If this story were emerging from something I didn’t know (a new franchise/other), I might be less thrilled. But being a lifelong Star Wars fan myself (aka, a “Warsie”), I have received so much delight and knowledge from this universe, that I find it thrilling to kind of uncover another story, but in increments this time (8 anticipated chapters that will be released weekly on Disney+ for the remainder of the year). This has somewhat revitalized the authentic model of “scheduled” TV (that I love so), which has been largely replaced (among streaming services) with the immediate release of entire seasons for our instant gratification (the idea of cable television is ever fading away). The phenomenon of binge-watching was originally popularized by Netflix’s multiple release layout, put into use in around 2012. I love sitting to watch a series through, but it feels like that comes at the cost and practice of patience and regulation. Makes me feel just a bit spoiled.
But anyway, getting back on track, we are here to talk about this thrilling show, which the world seems to be in a respectful frenzy over (with previous audience demand expressions reading nearly 20 million people, as opposed to the ballpark 10 million of shows on the recently released service, Apple TV+). Created and executive produced by the multi-talented Jon Favreau (director of The Lion King, Iron Man, The Jungle Book), this show takes a singular look at a rather gray are of Star Wars history, commencing after the conclusion of the original trilogy, but long before the inevitable rising of the First Order, being currently featured in the newest Disney SW trilogy. This show could be considered a TV extension of the A Star Wars Story series, which expands this cinematic universe through individual stories and adventures (such as Solo, or Rogue One), but for now, it is too early to make that deem without further insight.
Werner Herzog plays “The Client” here, a mysterious and shady employer whose generous offer would entice any mercenary to undertake. (Disney/Lucasfilm Ltd.)
The production design showcased just within the first episode is astonishing! Among the joys experienced with everything else in the iconic franchise, I have always stuck around to marvel at the exciting new batch of of exotic sets, costumes, and characters exhibited with each new chapter. These films, though varying in quality over the years, have consistently come out on top when pertaining to the factor of design. There is such diversity present and the incredible attention to detail that is put into each wrinkle and scale of an alien creature, the distressed character of every object, and the texture of foreign worlds, is truly magnificent! And there’s also the fact that the artists behind the visuals you see on the big screen are not only creating new images and worlds, grabbing from many sources to tailor that originality, but they also manage to brilliantly instill great reverence of the George Lucas visions of old in every bit of scenery so seamlessly, while also avoiding to drown you in excessive nostalgia; think of this asits own thing("easter egg" references are another little thing that may not seem like much, but are a work of the filmmakers aimed directly towards stimulate and delighting the fans even further)!
(As an aspiring artist and designer myself) It is really inspiring to see awesome creative consistency. And though it seems that each film continues to visually exceed the next (certainly to some degree), it is simply the incredible result of each department bringing their absolute best to the table, to give the audience something they will love, happily experience with others, and can completely sink into. So, greatest praises and the tipping of my figurative hat to art and development, as well as the fantastic props, construction, and puppetry teams who brought these 2D visions (of the artists) to life! I’ll definitely be on the lookout for the concept art book.
Greef Carga (Carl Weathers) awaits the takeoff a ship in a violet-hued sunset. (Disney/Lucasfilm Ltd.)
Alongside the bigger [celebrity] names, whose characters are central to the story, other talents who have a part in this harrowing galactic adventure include Giancarlo Esposito, Taika Waititi, Gina Carano, Emily Swallow, Omid Abtahi, as well as an appearance from standup comic Bill Burr (huh?). A great and diverse cast indeed, that is matched with an equally exciting slate of directors. The assortment begins with writer, producer, and Star Wars veteran and "family member”, Dave Filoni, who has served as major presence in bridging the gap between the beloved franchise of films, and its potent role in the TV world, starting in 2008 with the acclaimed, and rather groundbreaking, animated series, Star Wars: The Clone Wars (please make time to watch this show if you haven’t yet. It’s definitely worth your time). And since the show’s last episode in 2014 (stick around for a bit of news come this review’s conclusion), other series have taken up the mantle of Star Wars’ pivotal placement in the world of large and small screens, with Star Wars: Rebels and Star Wars: Resistance continuing to appeal to fans of all ages. And through this wide reaching platform (neighboring film, games, and books as well), not only have countless millions been brought into these new and expansive stories, but younger audiences are considered increasingly engaged, and considered in each major decision of the galaxy far, far away. And although there were steady streams of animated Droids and Ewoks entertaining kids years and years before (first in 1985), there have been none more memorable than the interstellar tales conceived in the 2000s (my grateful era of childhood). And now, over ten years later, we are receiving a work, the scale of which has never been seen before. But we will touch on that shortly.
Reconfiguring our course in this review, joining Filoni in the team of assigned directors, Taika Waititi, Bryce Dallas Howard, Roy Famuyiwa (Dope, The Chi), and Deborah Chow (Better Call Saul, Mr Robot, The Man in the High Castle) all share the load of leadership, stretching over eight pivotal episodes. The bio and filmography of each director read very different backgrounds, styles, and career paths. But because of all of these contrasts, as well as similarities, we the audience are guaranteed a delivery and retrospect of this story, with the rich tinge of fresh eyes to keep a sure tone, continuous, and with never a moment to claim boredom or offense (hopefully, at least, in these days).
Fierce gunslinging seems to be a common practice in dingy cantinas. (Disney/Lucasfilm Ltd.)
Now, the budget for each episode of this gargantuan production totals in with a whopping $15m price tag. That’s $120m for the entire, eight-episode series, which is still considerably less than the incredible average of $300m spent on recent films like The Force Awakens or The Last Jedi (sometimes I forget how much other stuff goes into a movie’s cost: marketing, endorsement deals, legal, etc.). That would make The Mandalorian the most expensive TV show ever, alongside the Apple+ original, See. But in these ever growing and fluctuating times of prosperity, that record won’t stick around for long (with fellow Disney+ superhero series original The Falcon and the Winter Soldier already projecting as much $25 million per episode!). These are very exciting times for TV shows, where a steady flow of brilliant, unique ideas are evident (not to say that other years prior haven’t been so), but that becomes a completely different conversation than we are (trying) to have now (if you’re interested, you can read more here).
Now for a clearer picture of things, in the past 15 years, or so, The Walt Disney Company has acquired a series of major studios and corporations, and their subsequent properties, in a fated hold on the film industry, that we all see today. Their assets include a variety valuable titles, such as:
Marvel Entertainment (and that’s every extension of the company, not just the Studio)
National Geographic
Pixar Animation Studios
ESPN, Inc.
21st Century Fox earlier this year (and its treasure trove of franchises like Avatar, X-Men, Deadpool, The Simpsons, among many others)
and the weighty Lucasfilm, which owns the iconic franchises of Indiana Jones and, you guessed it, Star Wars!
A fantastic infographic showing everything you never knew Disney owns (TitleMax©)
Yes, it is certainly a lot to swallow (read more about it here)! But it’s quite the story. Robert A. Iger has led the charge of enhancing brand and increasing profitability for the House of Mouse, since his statement as CEO of Disney in 2005 (a swift and active businessman, Iger moved to acquire Pixar in his first year of role). The 00s were a time when Disney was moving strongly (with many great movies and shows we still love today), but they somewhat struggled to follow a remarkably successful era of the 90s filled with some of their greatest gems). Cut to present day, Disney’s net income now reaches the heights of $10.44 billion (a slight downwards trend in the 12.6 billion intake from last year in 2018); a 404% increase from their past net of $2.5 billion years before.
Though, Bob Iger doesn’t have to be regarded as a “savior” for the company (not that anyone said that), he will most assuredly be seen as one the smartest minds in [business] history, whose leadership completely reshaped the business strategy and creative stride Disney masterfully wields and utilizes today. Every decision seems to have led to the massive culmination that is Disney+ today, and is just another reason why I find the streaming platform to be such a perfect venture for the Disney Company; in short and long term, and for profitability in the name of the consumer, with enormous potential to promote very engaging content (making itself a nice competitor with Netflix). I don’t think I can say any of these things enough. And an important factor in Iger’s guidance of the corporation is his delicate mindfulness that Disney, as well as being a visionary business and a brand, is place founded on the principals of imagination, creativity, and the importance of family unity, with the hope that sight of their happy roots are never forgotten. Though we are continually taken to exciting and unknown bounds through films and shows, park experiences, and more, this initiative remains a wonderful vision in retaining the magic and adding upon the legacy of the organization (would Walt Disney be proud? Probably. Hopefully). I had to slightly “summarize” the Robert Iger account to avoid mammoth rabbit trails, but I strongly recommend reading the into the whole story further with this great article from CNBC (enjoy!).
Kuiil, a native vapor farmer of Arvala-7 (played by Nick Nolte), approaches on “Blurrg-back” to meet his new visitor. (Disney/Lucasfilm Ltd.)
Even though we kind of went on a separate trail for a minute there, I believe it was well worth it. Very exciting stuff that’s happening now, and with things to look forward to. Anyway, the scale and grandeur of The Mandalorian allows us to experience this universe, not just informally as TV shows go, but, in a way few other “spinoffs” successfully execute. Obviously carrying a gigantic fan base with it gStar Wars), you might expect the usual nod to past films through moments of great nostalgia. But that simply isn’t the case with this loyal show, as we are fed the story in an intelligent and progressive manner that could altogether be regarded as a work separate from the base of With a fabulous production and story progression, we are hooked, immersed in alien worlds full of dangerous criminals and monsters, crafty bounty hunters, and those who decide that enough is enough and stand up to do the right thing. It is the greatest hybrid of space thriller and western adventure you will probably ever see. This is an immensely profound step, showing what Lucas’ trilogy. Star Wars can, and will continue to, be in relation to TV presence as time goes on. The show has already been renewed for a second season, with Favreau and his team working on the production as we speak. And this is happening before we even have a proper handle on the series (we’re not even halfway through it), so this is an even further indication of its success and reception already.
Though in a recent interview from a BBC radio show, Iger responded to question aimed towards his company's rather abundant releasing of Star Wars films and spinoffs, since the first batch of installments in 2015 (nearing 5 movies now, with Episode IX releasing next month). [Iger] stated that he has publicly acknowledged the phenomena of rapid fire galactic productions over the past 5 years, but went on to say that he is not disappointed with anything related to the franchise's performance or quality. “...I just think that there’s something so special about a Star Wars film, and less is more”, was a nice summary given by the CEO.
In spite of this statement, Disney COO Alan Horn has said that there is a real possibility of the show being adapted into a film in the future, depending on its success. I feel like we might already know the answer to that “opportunity" (always yes to money, right?), but I don't really see the reasoning for a 2-hour extension of this anthology, if there is already cinematic side too stimulate movie goers (if that makes sense). But, not having seen the full series, I could be opened up to a truly incredible story that I want see play out on the big screen (can’t see what the major difference would be though). Simply put, I could be proved wrong. I guess we'll see.
Former Jedi padawan, Ahsoka Tano (Ashely Eckstein), returns in this cool shot for a Season 7 finale of The Clone Wars. (Disney/Lucasfilm Ltd.)
But whether or not we are waiting for a cinematic adaption of this thrilling show, there are plenty of other Star Wars resources to fill your needs for the coming holidays. There are always plenty of books and comics dropping, it seems, from every which way (upcoming booklist here), as well the very recent release of the anticipated video game from EA, Star Wars: The Fallen Order (check it out, it’s pretty awesome!). Future projects announced include a spinoff show that centers around rebel intelligence officer Cassian Andor (played by Diego Luna, from the 2016 anthology action, Rogue One), and another spinoff where Ewan McGregor will reprise his role as Jedi master Obi-Wan Kenobi (both productions are in development, and will begin filming sometime in 2020). What really holds the bulk of my immediate excitement though (picking up on a hint placed earlier in this piece) is the surprise revival of Star Wars: The Clone Wars for a well deserved finale season! In a declaration earlier this year, and after a 5 year hiatus (which I thought was the conclusion itself), 12 fateful episodes are slated to release on Disney+ in February of next year. We will finally get a fitting end to this awesome saga, receiving closer insight on just how The Clone Wars were ended (or not), what exactly will go on to happen for characters like Ahsoka Tano, Captain Rex, and Darth Maul, among many other figures, and perhaps we might obtain knowledge of just how all of these events apply to and inform the state of the galaxy in the Lucas trilogies, leading to the concluding stories of Rey and Finn, but even stretching beyond those stories. Overwhelming? Yes, a but also exhilarating!
But, other than that there, is the scattered talk of a trilogy in limbo as Game of Thrones showrunners David Benioff and DB Weiss left the project shortly after announcing their involvement; and the news of a reported Rian Johnson trilogy, has been confirmed, but is being kept under wraps for the most part. This is all the gossip I was given. All I do know is that, whatever they decide to do, they will probably look back and learn a little something from the controversial reception of the The Last Jedi in the winter of 2017, that sent fans into a critical frenzy (I barely understood what the kerfuffle was even about, and thought the film was just fine. But read about the happening for yourself here).
Conclusion.
Anyway, to reiterate what I’ve gone over in this review, I could not be more thrilled for this show. The “bad a” Mandalorian (the best word to define his skill and quick wit) we’ve been introduced to is an enigmatic soul, but, with each episode is another memory, a feeling, a thought unearthed from his steely exterior to give us a subtle story entailing tragedy, survivalist instinct, and the simple need for compassion and understanding in a universe that probably sees him only as ”the tough guy” (that, along with strict cultural customs imposed from his people).
I absolutely adore watching these films with my family and friends! Whether or not they like the films is the dilemma to be solved, but is also something that can lead to great discussion, debate, and observation, which just enhances the overall experience, personally. Star Wars, though rather unsuccessful upon its release in 1977, was a groundbreaking work that catered to kids, teens, adults, nerds, and critics alike, with respect, and with the notion that great excitement lay in store for dedicated or reluctant viewers. George Lucas was/is an incredibly talented and inspired filmmaker who had great crew of designers and artists to help bring a unique tone to his movie; an atmosphere that can be clearly picked out and located today in branching movies and shows. And though it became evident that new leadership was the necessary step to re-energize and redirect the course of the franchise after the love-hated prequels of the 00s (away with those darn midichlorians), it created new opportunities for other artists and filmmakers to bring their own “flavor” (so to speak) to the galaxy, far far away (In the same way that new directors have been encouraged and nominated to head the productions of Marvel films, like with Taika Waititi’s radical comedic spin on superheroes with Thor: Ragnarok). (For many, Luke, Han, and Leia remain a big part of their childhood, and what constitutes their taste and creativity) To put it plainly, Star Wars is not only something that is created for the fans, as well as non Warsies, but we also are able to see that these movies are truly made by the fans to with an enthusiasm to match. This instills such an undefinable, joyous authenticity into the films, that works wonders in ways noticeable, and, probably for the most part, more obscure.
And lastly (for reals this time), I’ve managed to hold my tongue on one subject that is lighting up the internet with memes, praises, and love-stricken emojis. So, no spoilers will you get from me, but let’s just say that you’ll know when you know you see it, and ensuing this sight will be the biggest smile on your face, amidst contrasting thrill kills and and gunslinging. Maybe an inelegant way to end this review, but, nonetheless, we have finished.
You can stream The Mandalorian on Disney+ now. Episode 4 of the show releases on November 29, and the neighboring Star Wars: Rise of the Skywalker will be released in a galaxy near you, nationwide on December 19. May the Force Be With You always...
