The Mandalorian and Grogu

Today, I went to the theaters to watch, “The Mandalorian and Grogu,” which came out four days ago. Being a diehard “Star Wars” fan, I couldn’t pass this one over, seeing how I have seen every “Star Wars” movie in the theaters, starting with the prequels, since I wasn’t around when the Original Trilogy was released. Especially since I loved “The Mandalorian” when I watched it on Disney+ and was surprised that they decided to make a movie instead of a fourth season. How is this new “Star Wars” film?

It has been seven years since a new “Star Wars” film was theatrically released. For fans of the franchise, it has been one long wait. However, there has been no shortage of new “Star Wars” content for fans to watch through streaming. Since the franchise’s last feature film was theatrically released, there has been ten live-action seasons and just as about as many animated shows on Disney+. Still, there’s nothing really like “Star Wars” on the big screen.

As a lifelong “Star Wars” fan, Jon Favreau’s “The Mandalorian” is still among the best of the live-action streaming series. Keith Garlington said in his review, “Spanning 24 episodes over three seasons, the show plays like a space western set during a turbulent time on the Star Wars timeline. The first season was a terrific table-setter and the second season was an equally impressive follow-up. And while the third season dove more into Mandalorian lore than some wanted, it was still a worthwhile continuation.”

The show’s story began five years after “Return of the Jedi” and followed a solo Mandalorian bounty hunter named Din Djarin, reprised by Pedro Pascal, who becomes the protector and father-figure to a Force-learning being named Grogu (Baby Yoda). The series was rightly placed in the “Star Wars” galaxy, yet it’s the relationship that Din and Grogu made that created the heart of its story. Now their adventure continues on the big screen with “The Mandalorian and Grogu.”

Favreau directs from a script he co-wrote with Dave Filoni and Noah Kloor. Garlington said, “Together they have created a pulpy throwback space adventure that entertains with its bigger, grander spectacle yet flows naturally from the intimacy of its small screen predecessor. Even more, while it’s nicely rooted in Star Wars canon, “The Mandalorian and Grogu” doesn’t require a degree in Star Wars-ology to know what’s going on.” Obviously, it will be more to veteran fans, but anyone can watch, catch up, and enjoy.

Garlington said, “Predictably, “The Mandalorian and Grogu” has already faced negativity from many of the usual naysayers. But for those able to toss aside unreasonable expectations and trendy disillusionment, Favreau and company have delivered a rip-roaring Star Wars adventure reminiscent of the old space serials that inspired George Lucas nearly 50 years ago. It tells an incredibly fun and mostly self-contained story that really gets to the heart of what so many of us love about the eponymous duo.”

After the fall of the Galactic Empire, a leftover of supporters threaten the stability of the galaxy. Garlington said, “A shadow council made up of ex-Imperial warlords operate in the lawless Outer Rim, secretly plotting to rebuild the Empire. To quell their efforts, the fledgling New Republic enlist Din (a returning Pascal) and his young apprentice Grogu to hunt them down one by one.” It’s dangerous work, but it’s something Din knows and does right.

After taking out a victim in an exciting action-packed opening, Din returns to base where he meets with Colonel Ward, played by Sigourney Weaver, a top pilot during the Rebellion now serving as a commanding officer for the New Republic. She assigns him to a new mission – detain Imperial warlord Janu Coin, played by Jonny Coyne. However, to find his location, Din will have to do a job for the Hutt twins, the leaders of the crime organization once ran by their late sibling, Jabba the Hutt.

The twins want Din to rescue Rotta the Hutt, voiced by Jeremy Allen White, the only surviving heir of Jabba who is being held prisoner on the planet Shakari. However, Din and Grogu learn the hard way that there is more to their mission than they can see. Garlington said, “And when things get “messy”, our heroes find themselves at odds with the Hutt twins who have their own shady self-interests and ulterior movies in play.”

From the beginning, “The Mandalorian and Grogu” makes everything very clear. This is every bit of a “Star Wars” movie, with its dangerous worlds, its variety of cool creatures, and so much details that fans will recognize through the runtime. Garlington said, “At the same time, the story is more about the personal stakes rather than galaxy-wide peril. Much like the show, it keeps Din and Grogu’s relationship front and center which adds plenty of heart to the pulse-pounding action.”

With the visuals, Favreau puts together so many eye-pleasing practical sets, digital effects, and amazing puppetry in bringing his story on screen. Garlington said, “It’s especially impressive on the big screen, whether it’s massive Imperial walkers, ferocious arena fights, or the scene-stealing Anzellan droidsmiths. And it’s all accompanied by the lavishly scored music of Oscar-winning composer Ludwig Göransson.” He turns out to be one of the film’s largest standouts.

Garlington said, “Again, throw aside the absurd expectations, the exaggerated doomsdaying, and the ‘hate for clicks’ online noise and you’ll find a movie that’s not as far removed from George Lucas’ original vision as you may think. Some have harshly judged the film as “inconsequential”. But Favreau is clearly aiming for something more intimate, with situations that are never “inconsequential” for the characters. And Star Wars has already shown that not every story needs to be on a galactic scale. It’s true that your mileage may vary depending on your affection for the two lead characters.” However, anyone can join in, watch, and enjoy this equally exciting and loving old-school space adventure.

I didn’t feel the runtime, although people might have complained about this film being too long. There was not a moment that I felt bored or antsy and wanted to leave. I think this went by fast enough, but that might have been because I got into this and didn’t feel any slow moment. This is better than the third season, and it was good. While watching this, I could see where this could have been broken up into a fourth season, but as a film, I’m glad I saw it. Check it out in the theaters and see for yourself. I’m sure a lot of people will love this film.

Thank you for joining in on this review tonight. Stay tuned this Friday for the finale of “Terry Gilliam Month.”

Andor (Season 2)

If the first season of “Andor” was the birth of a rebel through Cassian Andor’s, reprised by Diego Luna, eventual awakening, the second season, released on Disney+ in April, reveals the birth of the rebellion. Sure, the rebellion was already in process. It needed to be in order for someone to choose to be amongst its ranks. However, there’s a difference between isolated moments of revolution with Luthen Rael, played by Stellan Skarsgard, being a puppet master and a full-fledged enterprise including the regiments and chain of command. The missions he gives Cassian, Vel (Faye Marsay), and Wilmon (Muhannad Ben Amor) on were just what was being inserted across the galaxy. The words of Karis Nemik, played by Alex Lawther, became a strategy inspiring others to seek freedom. Now, Tony Gilroy and company have put it all together.

Jared Mobarak said in his review, “The show probably would have gone five seasons if it had begun production around the time of Rogue One (the story upon whose back it serves as a prequel). Between the COVID shutdown, industry strikes, and a bursting streaming bubble, however, we should be grateful we even received two. Gilroy makes it work by devoting this latest run of twelve episodes into four equal chapters spanning a truncated period of real-ish-time events labeled by their year in relation to A New Hope: BBY 4 (Before the Battle of Yavin) through BBY 1.”

First come the effects of the previous season via a three-branched narrative showing Senator Mon Mothma (Genevieve O’Reilly) sending her daughter into marriage, Cass trying to survive the end of a mission to steal an Imperial spacecraft, and Bix (Adria Arjona) hoping to evade an Empire inspection in the fields where she, Wil, and Brasso (Joplin Sibtain) work as undocumented laborers. Next are the consequences of an expanding rebellion causing there to be too many things going at once for both Luthan and Dedra Meero, played by Denise Gough, their inevitable collision course coming into larger focus while Cass questions his want to keep pushing himself by sacrificing his life for the cause.

Mobarak said, “BBY 2 is the coup de grâce culminating in two of the best episodes of television this century courtesy of "Who Are You?" and "Welcome to the Rebellion". The former is named after a line channeling the "Mad Men" meme exchange between Don Draper and Michael Ginsberg with all the withering heat of "I don't think about you at all" as well as the revelation that, despite his many attempts at the contrary, Syril Karn (Kyle Soller) is nothing more than a cog in the machine. Its epic faux "first strike" turning into massacre (the parallels to Stephen Miller fabricating a reason to put federal law enforcement on the ground in Los Angeles right now are uncanny) leads to a powerful, galvanizing moment for the rebellion that can only be rivaled by Mon and Senator Organa's (now played by Benjamin Bratt) sacrifices within a tense exfiltration during the latter episode.”

Mobarak continued, “And the final block serves as the connective tissue to Rogue One—a beautifully orchestrated last hurrah for those who don't make it into that film and a rousing ramp up to the drama ahead for those who do. Yes, even K-2SO (Alan Tudyk). I'll admit to being worried that it didn't seem like there would be enough time to do it justice considering all that occurred during BBY 2, but the cast and crew get it done with elegant precision and high-octane suspense courtesy of both Kleya Marki (Elizabeth Dulau) and Cass knowing what is at stake once they realize they might have finally compressed the information gap separating their efforts from those of Director Krennic (Ben Mendelsohn).”

Their ability to move so much story in so little time with these tightly inserted trios only works by giving audiences the respect they deserve as far as knowing we understand the connections without needing them spelled out (Mobarak said, “sorry, Netflix, not everyone wants "second screen" content with dialogue meant to keep us informed so we don't actually need to watch anything”). This shows how much they love these characters and they can handle the politics of both sides of a civil conflict that started with dictatorial tyranny (we also do seeing how much has happened in this county and beyond today). Mobarak said, “That they do so while also finding time to focus on smaller representations of that scenario (namely Kathryn Hunter's unforgettable, totalitarian mother) is our gain on an entertainment and educational level considering sympathizers must never be let off the hook.”

However, beyond the easy heroes and villains, “Andor” also gets to the core of a person like Syril – someone who might prove most interesting due to his thought about his place in the opposition. Because there’s a difference between him and ISB members like Debra and Partagaz, played by Anton Lesser. Mobarak noted, “He might be on the side of evil, but he exists there as an idealist earnestly pursuing a warped ideal fed to him since youth. They operate on ego and ambition, willingly trading their souls for a piece of the pie.” Syril operates on righteousness, thinking h is pursuit of justice is pure because he hasn’t seen that his justice is actually a way to strengthen his superiors’ injustice. It’s why Debra and Partagaz’s ends feel satisfying in their torture and Syril’s feels heartbreaking by contrast. Sadly, too many refuse to see the truth until it’s already too late.

This is not one of the best, or the best, spin-off of the “Star Wars” franchise, but it’s still one of the good ones. The second season ends off with a good segue into “Rouge One,” and it does feel very genuine and moving. It has a fire shown in the rebellion being ignited, so you can see this and enjoy it. Check it out if you have a Disney+. If you start off watching the prequel trilogy, then you can watch the two seasons of “Andor” before watching “Rouge One,” then start the original trilogy. See it for yourself and judge if you like it or not.

Tomorrow I will be looking at another Disney live-action remake that is still bad in “Disney Month 2025.”

Skeleton Crew

You won’t find a lot of kids a long time ago in a galaxy far, far away. At least, not any that aren’t tortured by Anakin Skywalker, retrieved for a bounty, or forced to pod race to escape child slavery. However, Star Wars fans young and old have a new hope in “Skeleton Crew,” a 2024 weekly spin-off series from Disney+. Brooks Eisenbise said in her review, “Taking cues from recent nostalgia-fueled The Goonies (1985) knock-offs like Stranger Things and It (2017), this story provides a new angle on the Star Wars cinematic universe—one that puts childhood adventure front and center.”

Eisenbise continued, “While Jedi-fied Jude Law has been the centerpiece of this show’s promotional material, the tweenaged ensemble cast, headed by Ravi Cabot-Conyers as Jedi-obsessed Wim and Ryan Kiera Armstrong as tough-talking Fern, steal the show. Along with technophile KB (Kyriana Kratter) and worrywart Neel (Robert T. Smith), the group of unlikely comrades discover a mysterious door in the woods that transports them far beyond their celestial neighborhood and calls into question everything they thought they knew about their home planet and their galaxy.”

“Skeleton Crew” is one of the very few canonical offshoots set after what happened in “Star Wars: The Rise of Skywalker” and the fall of the First Order. Therefore, not only does this series put a unique focus on childhood in the Star Wars universe, but it also looks at a glimpse into the political and criminal underworld of its new intergalactic democracy. Experiences writers Christopher Ford, Jon Watts, and Myung Joh Wesner achieve this amazing world-building with refreshing finely, charm, and humor. Eisenbise said, “And this time, the punchlines aren’t (exclusively) delivered by a wisecracking android, a now well-worn Star Wars trope.”

Whether “Skeleton Crew” will fall into redundancy and superfluous exposition or be canceled before it gets to a satisfying conclusion – both unfortunate fates that have befallen recent Star Wars spin-off series – is anyone’s guess. However, whether you’re a longtime fan or completely new to “Star Wars,” it’s worth to keep watching.

I found myself enjoying this show a lot. I liked the story and the growth of the characters throughout the season. Fern and Wim really grow to get along when they are first trying to be in control, and Jude Law plays a two-faced guy so well. The planet that is consisted of pirates was just great, especially with an appearance by Steve Urkel from “Family Matters,” Jaleel White, in here. I have not seen him on TV in years, and to see him in here was just great. Maybe he did not want to be remembered for his role as Urkel, but if this is a sign of him making appearances again after letting the Urkel popularity die out, then I am happy. SM-33 is voiced by Nick Frost and he is funny in that role. Alia Shawkat from “Arrested Development” and former “The Daily Show,” John Hodgeman are also in here. See this on Disney+, you will love it. I think they are going to make more seasons to this, I will be happy.

Tomorrow we’ll be looking at a new animated Marvel Cinematic Universe show in “Disney Month 2025.”

The Acolyte

The best “Star Wars” releases in recent years are the ones that detract from the original story.

From “Rouge One” to “The Last Jedi” to the animated “Visions” and “Andor,” the franchise finds the path by taking risks and focusing on original stories that just happen to be set in a galaxy far, far away. Proma Khosla said in her review, “With the middling quality of so many other Star Wars offshoots since Disney+ launched in 2019, Leslye Headland‘s “The Acolyte” finds company, mercifully, in the former category, with an intriguing crime thriller set further back than any other live-action entry.”

“The Acolyte,” which came out in June, takes place further back in the franchise’s history, during the High Republic Era that’s even before young Anakin Skywalker in “The Phantom Menace.” It’s a time of peace, as the opening text says (no title crawl), but like all peaceful times in Star Wars, that gets interrupted. A violent crime is brought to the attention of the Jedi council, making Jedi Master Sol (Lee Jung-jae) to investigate and confront a person from his past (Amandla Stenberg).

Khosla said, “The first two episodes premiered on June 4, but even then Disney is tight-lipped about spoilers. Without getting into plot details, backstory, or the pilot twist, it’s fair to say that “The Acolyte” draws on crime procedural and murder mystery shows, two wildly popular genres that thrive in a world of mystical powers, shrouded history, and strained relationships.” Stenberg’s character is connected not only to Sol, but to Indara (Carrie-Anne Moss), Torbin (Dean Charles Chapman), and Kelpacca (Joonas Suotamo). Headland directed the first two episodes, the third and seventh directed by Kogonada, the fourth and fifth by Alex Garcia Lopez, and the sixth and eighth by Hanelle Culpepper.

Khosla said, “And here we honor the spoiler embargoes, for withholding their secrets gives us more time to praise Lee for an outstanding performance in his first ever English speaking role. In just a few scenes as Sol he delivers some of the finest acting ever seen in Star Wars, a mesmerizing array of nuanced emotion that still toes the line of Jedi detachment.” He pairs skillfully with Moss, with Charlie Barnett, with Dafne Keen, and Elizabeth Henderson (who remind everyone that fantasy hair and makeup don’t have to inhibit performance), Stenberg, and pretty much anyone. The performances overall are more active, the writing more engaging than usual for Disney+, which keeps the series from uninteresting like the previous ones.

Khosla said, ““The Acolyte” seems notably more interested than any live-action Star Wars in interrogating the Jedi Council’s police-state behavior.” It was this very action that made Ahsoka Tano leave the Order, but that’s not the point of “Ahsoka,” and once Grogu abandons his training it no long matters in “The Mandalorian.” However, with the rise of the Jedi, “The Acolyte” uses the present to add layers to the Star Wars galaxy’s past. Khosla said, “There’s less glory and religious subtext to the Jedis’ rigidity and law enforcement, more secular peacekeeping (the title obviously alludes to that subtext, but it’s not from the Jedi side).” Despite her unreceptive response, Stenberg’s character and neighbors like Qimir, played by Manny Jacinto, are rightfully doubtful of the Order, where power runs apparently unchecked in the hands of a group that claims to be nonviolent until they draw deadly weapons.

The four episodes shown for critics went by and showed promise. The final verdict depended on the villain of the series, which is an unknown person with an unrecognizable voice whose followers share his loathing for Jedi. Is this a known character, or a new person from a different universe – maybe a new invention completely. Khosla ended her review by saying, “The Star Wars shows that fall flat often do so after an eleventh hour connection to the Skywalkers, ironically dooming otherwise interesting stories in an effort to plumb nostalgia. Maybe the Jedi were on to something when they eschewed attachment — without sentimentality for the world that spawned it, “The Acolyte” deserves its own following.”

For the most part, I got into this show. I loved the characters, the action, the set design of the planets, and overall, this was an engaging story, but I do acknowledge the problems this show has. I wasn’t fond of the twists. If they didn’t take certain directions, maybe the show could have been better. Not to say this is a bad show but it’s not as good as some of the other Star Wars shows on Disney+. With the certain directions they took with the story, I feel they could have made better decisions. Still, even though fans are thrashing this on Rotten Tomatoes, I think people can still see it.

Sorry for the late posting. I took a nap and tried to get as much done before I got to bed. Tomorrow, I will be looking at another MCU spin-off in “Disney Month 2024.”

Ahsoka

Over the last few years, Star Wars fans have been having complicated feelings about the franchise. On one side, fans have been enjoying the movies, shows, cartoons, and theme park attractions that people spend a year's salary on. Erin Maxwell said in her review, “Disney’s greed quickly saw an oversaturated market and so we got some lackluster entries, cruddy hotels, and Porg plushies, causing the desire for more galactic adventures to diminish.”

The Franchise needed a save that makes sense and brings fans back to the franchise, but will be it this past year’s “Ahsoka” series?

Ahsoka is a Togruta (sentient humanoid with cone-like horns and white facial pigments), which fans were first introduced to in their teenage years training under Anakin Skywalker in the animated series “Star Wars: The Clone Wars” back in 2008. She returned to animated design in “Star Wars Rebels” in 2014 before she finally came to live-action in “The Mandalorian” and “The Book of Boba Fett.” Now in her series, Ahsoka (Rosario Dawson) follows the former Jedi after the fall of the Galactic Empire as she tracks down old enemies and lost friends with the help of her former Padawan, Sabine Wren (Natasha Liu Bordizzo).

Written and co-directed by Star Wars defender Dave Filoni, “Ahsoka” sees him doing what he does best: connecting the dots between films and the extended universe. However, this time around, there is a separate focus on female empowerment and leadership thanks to the female-led cast. Maxwell noted, “But the world of Ahsoka isn’t an easy romp. The show will be quite complicated for most newbies, especially those who only have the movies under their belt and a Grogu t-shirt. Those who skipped out on Rebels and Clone Wars might be a bit lost in space when it comes to these characters, politics, and past narratives.”

To understand the show, “Ahsoka” requires viewers to do a lot of homework, and there’s much to catch up on. Maxwell said, “Hardcore fans will appreciate the poignant relationships that have been carefully cultivated since they were in toon form, but others will find the show slow-moving and bogged down in politics. Still, the essence of good vs. bad is at the forefront of any great hero saga and it deserves to be explored.”

Maxwell continued, “Breathing new life into a galaxy far, far away is difficult, especially when the fan base seems to want familiarity –AHsoka is basically a live-action version of Rebels: Season 5.” Still, like the previous show, “Andor,” “Ahsoka has enough going for it to move the franchise in a new direction, making it different from Indiana Jones, recent Marvel movies, and a few previous Star Wars installments that failed to do so.

This is a very good show. Dawson and Bordizzo are amazing in the lead. Ray Stevenson and Ivanna Sakhno are believable and great as the villains. There are some great action scenes and the story, even though you don’t want it to move in a certain direction, you know it goes there. Check it out on Disney+ and you will love it, I promise.

Tomorrow we will be ending “Disney Month 2023” with another installment in the MCU.

The Mandalorian (Season 3)

Even though the world-building in season 3 of “The Mandalorian,” released back in March, continues to be top-notch, especially the planet of Plazir-15, and the neon-looking Coruscant, the creatures stay wild and wonderful, and Grogu lovable as always, the storytelling feels like it has gone down a predictable path.

After pulling Din Djarin (Pedro Pascal) out of the Living Waters in “The Mines of Mandalore,” without telling him about the mythosaur sighting, Bo-Katan (Katee Sackhoff), Din, and Grogu go back for the secret Mandalorian territory where both are accepted as they enter the Living Waters. The Armorer, played by Emily Swallow, gives Bo-Katan the extra responsibility of bringing so many Mandalorians together to reclaim their land and their legacy, with the option of keeping her helmet off as she “walks both paths.” She accepts Bo-Katan’s mythosaur sighting as significant. Mini Anthikad Chhibber said in her review, “The mythosaur is a telling name, signifying a gigantic myth or truth.”

In the shining land of Coruscant, after a pardon from the New Republic, Dr. Pershing, played by Omid Abtahi, is being rehabilitated. He is uneasy about the presence of Elia Kane (Katy M. O’Brian) who was a communications officer with Moff Gideon’s (Giancarlo Esposito) Imperial Forces before being rehabilitated. Elia seems ready to help Pershing continue his cloning research, but naturally not. Chhibber said, “Incidentally, those city trains in the sky are so cool as is the only part of the planet that is not built upon being kept like a fenced-off exhibit.”

“The Foundling” sees Grogu training in the ways of the Mandalore and he intelligently defeats his opponent with his new upside-down flip. There is a raptor to be subdued and younglings to be rescued. While Grogu watches the Armorer work the forge, he has a flashback of the chaos and bloodshed in the Jedi temple during Order 66. The Armorer forges a rondel for Grogu which she assures him he will grow into and as he murmurs in delight, all thoughts of the desperate flight with Jedi Master Kelleran Bed, played by Ahmed Best, are filed away.

Chhibber said, “Gorian Shard, who looks like a cousin of Davy Jones from the “Pirates of the Caribbean” movies, in retaliation for previous wrongs, is back at Nevarro in “The Pirate.” High Magistrate Greef Karga (Carl Weathers) sends a hologram to Captain Carson Teva (Paul Sun-Hyung Lee) for help – just like Princess Leia a long time ago. With the New Republic having enough of its problems, it is left to the Mandalorians to help, which they do perfectly.

Bo-Katan, Din, and Grogu head to the lotus-eating planet of Plazir-15 in “Guns for Hire” in a bid to get her former army back. The army, now led by Axe Woves (Simon Kassianides) are mercenaries for the rulers of the nice planet, former Imperial officer, Captain Bombardier (Jack Black), and his Bridgerton-style group, The Duchess (Lizzo). Chhibber said, “There is no such thing as a free lunch and the Mandalorians are asked to neutralize the threat of repurposed droids who are going haywire.” The two head to a bar because naturally, that is where you can pick up various useful information. Commissioner Helgait, played by Christopher Lloyd, does not have much faith in outsiders. Everything is set up for the big confrontation between the Mandalorians and Moff who escaped his prison transport and is up to his usual evil tasks.

Chhibber noted, “The final episode, ‘The Return’ is just that bit underwhelming with its vanilla happily ever after.” Grogu in a repurposed IG-11, played by Taika Waititi, repeating, yes, yes, yes, and no, no, no, is nice as always but now “The Mandalorian” seems to be more a placeholder for the larger Star Wars story.

Chhibber mentioned, “Well, there is enough eye candy, with fantastic worlds courtesy of the 360-degree video wall.” With two spin-off series, “Rangers of the New Republic” and “Ahsoka” following “The Book of Boba Fett,” and a film in “The Mandalorian” universe which is set between “The Return of the Jedi” and “The Force Awakens,” there is a lot more fun to expect from this ongoing franchise.

As everyone knows, “The Mandalorian” is one of my favorite shows currently streaming. Unfortunately, the third season is not as good as the first two. The reason why I said that is because there is one episode that felt like filler because there was no mention of the character again throughout the series, and the beginning of one episode felt pointless because the characters are never mentioned again. Still, I love the characters, planets, effects, writing, and action this series has been giving fans. This is still the best thing Star Wars related currently, and I would love to see what the series has next in store for its fans. Please don’t make us have to wait another two-three years for another season.

Tomorrow we’ll be going back to the MCU with one of its shows in “Disney Month 2023.”

Andor (Season 1)

In 2016, “Rouge One: A Star Wars Story” gave a new chapter in the sci-fi franchise that longtime fans were not expecting. The story did not revolve around the Skywalker saga as the film was about a rag-tag group of Rebels who sacrificed themselves in exchange for offering hope to the rebellion.

Despite being different from the familiar franchise, the film was known as one of the best in the “Star Wars” franchise thanks to its cast, an amazing script, and the final amazing 20 minutes with Darth Vader in all his powerful, lightsaber fighting Sith glory.

Six years later, “Rouge One” co-writer Tony Gilroy returns to that area with “Andor” for Disney+, released in September. Set five years before the events of that film, Cassian Andor, played by Diego Luna, is the main focus of the series as we follow his development from villain to hero.

When we first meet Andor in “Rouge One,” he is already a leader, but here, he is just one level above a ruined. A thief who is impulsive, he acts without thinking and suffers the consequences, joined by Stellan Skarsgard, Forest Whitaker, Adria Arjona, Kyle Soller, Fiona Shaw, and Denise Gough, Luna embodies Andor. He’s a man whose people and planet have been destroyed by the Empire, yet his spirit stays whole. Erin Maxwell said in his review, “In early episodes, it is difficult to see the self-sacrificing leader he will eventually become, but that is the journey promised by Andor.”

“Andor” keeps the story grounded by keeping the action mostly on the ground, thereby making it the most relatable of the “Star Wars” franchise. Maxwell said, “A smart move for a franchise that was quickly approaching fatigue as Disney continues to milk it for movies, series, and animated efforts. Though still rich with culture and the politics that drive the Star Wars universe, Andor is a more nuanced story that pulls from the characters and their actions, rather than the fanbase.” However, those looking for another “Mandalorian” might be disappointed by the darker look of the show.

Maxwell noted, “In the end, Andor is less of a spin-off and more of a spy drama that makes use of its pedigree to tell a engrossing story. At its heart, it is a character study told on the backdrop of a revolution.” We know the outcome for everyone in here, so audience interest must rely mainly on Andor himself. Thanks to Luna, we care, as both the actor and Gilroy have created a compelling character. Good news for those who have hit “Star Wars” boredom.

I really liked this show. It does switch around a lot from a few stories, but I think that is a normal part of the Star Wars stories. Still, it is something you should see. You will really love this a lot, especially Luna’s portrayal of Andor. You will be rooting for him from the beginning.

Tomorrow I will be looking at some MCU specials in “Disney Month 2022.”

Obi-Wan Kenobi

Ten years after “Revenge of the Sith,” Obi-Wan Kenobi (Ewan McGregor) is hiding in the Tatooine desert when Bail Organa (Jimmy Smits) calls him to rescue young Leia (Vivien Lyra Blair). Can the former Jedi master help him without revealing his appearance to the Empire?

Helen O’Hara stated in her review, “One of the disappointments of the Star Wars prequel trilogy was how little stylistic connective tissue it shared with the original films, given all those shiny surfaces and CG creatures.” This show connects the two trilogies in style and substance, giving us a great halfway point between “Revenge of the Sith” and Luke Skywalker’s rise to fame, and a look into the missing decades of Obi-Wan Kenobi’s life.

Obi-Wan (McGregor) is now cleverly disguised as “Ben” Kenobi, a desert fish seller who keeps his head down and watches from afar on Luke Skywalker (Grant Feely), without the approval of his uncle Owen (Joel Edgerton). Then Imperial Investigators show up on Tatooine, looking for escaped Jedi.

O’Hara noted, “There’s an effectively nasty premise in the cat-and-mouse game between Inquisitors and Jedi here: Jedi can’t help but help, so all the Inquisitors need do is threaten literally anyone, and nearby Jedi will feel compelled to intervene. It’s a grubby, real-world totalitarian tactic designed to divide and intimidate, because if a Jedi like Obi-Wan looks away from such evil to keep himself safe, is he still a Jedi? Or has his very nature been corrupted?” Such powerful evilness is strengthened by joyful arrogant, in Rupert Friend’s Grant Inquisitor, and single-minded obsession, in Moses Ingram’s driven Reva. These are new villains to be dealt with, and their story arcs manage some welcome shocks.

O’Hara said, “Against this backdrop, Obi-Wan receives a call for help from an old friend, and risks his hiding place to answer it.” The job will bring him into contact with brave people still fighting the Empire, and introduce him to the powerful strength that is Princess Leia, played by Vivien Lyra Blair, intimidating even as a tween. However, it also puts him under the radar of Darth Vader, reprised by Hayden Christensen, once more.

O’Hara noted, “Showrunner Joby Harold and director Deborah Chow for the most part make a strong inter-quel chapter here, with a despairing, wary McGregor as the missing link between the two trilogies. They also create a world with both the dusty, used feel of the original trilogy and traces of the flat glitz of the prequels, and only a few niggling discontinuities with the canon. These adventures help to redeem not only McGregor’s character but his entire under-loved era, cherry-picking the best bits and leaving aside the embarrassing Gungans and terrible screenwriting.”

Despite the show not making Anakin/Darth Vader’s emotional life speak, there are some killer moments for Christensen to play here, and fights on alien worlds shined only by lightsabers. More importantly, it’s an honor to see an older, wiser McGregor back to face him. McGregor became more comfortable with his character with each film in the prequels, and now those old robes seem completely familiar – despite, or maybe because, Obi-Wan himself has never been more at stake. Still, over the franchise he recovers himself a little, and earns a new path for his life as a Jedi. He finds out, you would think, a new hope.

Other than a few continuity issues and over-familiar parts, this has a solid understanding of its protagonist and a fun new adventure. It’s a very welcome return to basics after the issues in “The Book of Boba Fett.”

This is a great show. If you haven’t seen “Obi-Wan Kenobi,” which came out in May, yet, and you have enjoyed the past Star Wars show, what are you waiting for? It is available on Disney+. Go on there right now and watch the entire series. I give it a high recommendation. If you were not impressed with “The Book of Boba Fett,” this show will redeem itself for you. You will go back to loving the Star Wars franchise again.

Stay tuned later for another review on a film that I got to see today.

The Book of Boba Fett

When Boba Fett showed up in “The Empire Strikes Back,” he made such an impact in his Mandalorian armor. The mysterious bounty hunger quickly became one of the franchise’s most popular characters despite his small role as a pensionary for Darth Vader and Jabba the Hutt.

The end of the original trilogy left Boba in the stomach of the powerful Sarlacc to be eaten for a thousand years, but now Disney had decided to resurrect the popular character giving him his own series, “The Book of Boba Fett,” streaming on Disney+ starting 2021.

In this series, Boba Fett (Temuera Morrison) and his partner Fennec Shand (Mina-Na Wen) step into the power vacuum left by dead of Jappa the Hutt. When the two try to make Boba the ruler of Tatooine, they learn running a crime family is harder than hunting bounties.

Jon Favreau, who did amazing work on “The Mandalorian,” is the showrunner for “The Book of Boba Fett.” Disney’s Star Wars movies disappointed longtime fans, but Favreau’s sandy space westerns have proven to be the saving light for the franchise. Fans of “The Mandalorian” will enjoy this series too, but because “The Book of Boba Fett” feels familiar, it doesn’t produce the same excitement as the previous series, and some episodes feel slow.

Part of that slowness comes from extended flashbacks explaining how Boba escaped the belly of the Sarlacc and how he recovered from his physical and emotional damages. Collin Garbarino compared in his review, “These scenes feel akin to Disney’s recent trend toward rehabilitating classic villains like Maleficent and Cruella de Vil, and it’s a little sad to see the iconic character’s mystery dispelled.” However, the parts showing Boba and Fennec trying to brin order to Tatooine are much better.

Boba calls himself Tatooine’s “daimyo,” but he’s one crime lord among many wanting to force the others into submissions. Garbarino said, “Viewers get a glimpse of politics in a world devoid of legitimate government: Criminal families, bureaucrats, and local business owners all must negotiate a new normal to restore some semblance of order.” The question is: who will find themselves on top of that new order, and how will they achieve it?

Garbarino admitted, “The conflict over who will rule the unruly planet of Tatooine reminds me of Augustine of Hippo’s political theories. Augustine was a Christian theologian of the early church, living during the last days of the Roman Empire. In his book City of God, Augustine said without justice, a city’s government isn’t much different from a criminal gang.”

Boba might be a crime lord, but he wants law and order for the benefit of others. He’s a man of violence, but the goal of his violence is peace than exploitation. Throughout the series we see an unlikely hero promoting justice on a planet that doesn’t understand the concept, and the show asks us to consider whether it’s better o rule through fear or respect.

In all honesty, as much as I liked the show, most of it did seem to drag. The only reason why I say that is because half of the time Boba is in the Batha Tank with flashbacks and the other half is him and Fennec ruling Tatooine. People complained that Boba would act hypocritically on the show, and I can see what they mean. The last few episodes (spoilers) had Mando and The Child come back, which really excited me since they are the best parts of “The Mandalorian.” See the show if you would like, as it wouldn’t hurt, and it is not disappointing, but bear in mind, you will not be nearly as excited as you would be when watching “The Mandalorian.”

Tomorrow I’m going to look at the next MCU series in “Disney Month 2022.”