If you are invested in the emotional relationship between Din Djarin and Grogu, I envy you. I tell you this because the whole emotional arc of this show is between a mostly expressionless alien that doesn’t speak and a masked man whose face we almost never see. If a stone-faced man is shown, followed by food, we may believe he’s hungry. Last year, midway through the first season, I wrote about how the show continues a long history of Star Wars indulging in the Kuleshov Effect, the psychological idea that we associate emotions with an emotionless image as long as there are connecting images presented in between. And somehow, it was decided - either because his other acting priorities required it, or because This Is The Way - that Pascal should play a man whose face we almost never see. Pedro Pascal is a talented actor brimming with charisma. “Ah, but Josh,” you will say, “The story is really about the emotional connection between Din Djarin and Grogu.” And this is where we part ways.
16 episodes to get to the back half of that sentence. There are episodic adventures, and they have all been in service of Mando handing Baby Yoda off to Luke. “A masked man finds a baby version of Yoda, and brings him to Luke Skywalker for his training.” Strip away everything else on the show, and that is literally two seasons’ worth of story. What is The Mandalorian about? If someone had no idea what the show was, or its responses, or the various memes, or whatever, I could sum it up for them in a single sentence. (But it sure is!) Where I guess I disagree with the critical consensus - which has mostly acknowledged the badness of this scene - is that I think it’s reflective of what makes the show on the whole so hollow. It’s a bad scene, not only because the de-aged Luke Skywalker is enormously unconvincing.
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That episode looked like it belonged in the 24 universe.) And the concept of Baby Yoda is really quite brilliant, not just from a merchandising and meme-ification standpoint.īut as I watched the CG Luke Skywalker plow through a series of very mean-looking robots and then take away Baby Yoda for his Jedi training, I felt both disappointed and unsurprised. (I will exclude the one episode this season wherein Mando, Moana’s father, and Mulan fought some bad guys on what appeared to be a hilly stretch of somewhere north of Los Angeles.
I can watch most episodes and acknowledge that this show looks like it belongs in the Star Wars universe.
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Greg Laemmle, President of Laemmle Theatres and Steven Zeller, President of movie marketing and PR company GS Entertainment Marketing Group head Laemmle/Zeller Films.By noting that I’m apparently a much more casual fan than I thought, I should clarify that I really, truly wish I liked The Mandalorian a lot more than I do. Ronna Wallace of Eastgate Pictures represented Bean and Poling in crafting the deal with the company. The documentary, which raised part of its funding off Kickstarter, has played at various festivals across the country this year. For various stories, he played for the Detroit Lions and the Boston Bruins as well as the New York Philharmonic. Plimpton, who acted onscreen with Anthony Hopkins, John Wayne and Matt Damon among others, was known for taking his self-styled “participatory journalism” on to the field. Directors Tom Bean and Luke Poling use audio and video of the Paris Review editor to tell his life’s story. The company plans to theatrically release the documentary of the writer and raconteur in the spring of 2013. EXCLUSIVE: Laemmle/Zeller Films has acquired the rights to Plimpton! Starring George Plimpton As Himself.
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