The Mandalorian

[marco.g]

Yeah, because who needs character development or the addition of interesting characters?


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I just need a space version of "WE WHOPPED EM JOSIE"

[Firefly]

If Mando and Gina Carano don’t end up as a couple and swap serious spit after killing like a million Jawas and raise Baby Yoda on a farm in the Space Country after teaming up with Jayne Cobb to kill Rey then THERE WILL BE BLOOD.

Also that’s the only time he gets to visibly take his helmet off now on camera now. It’s Federal law. It’s a hate crime otherwise. I have spoken.

I will get on instagram wearing SAPI plates demanding as such. I’ll organize neckbeards with SKSes on instagram.

I don’t care what adventures they have or how many seasons the show lasts.

Film that ending NOW! It’s already canon.

This show is serious business

[Johnny Rico]

Seemed like it didn't take much for him to help a group of people he had no interest in and gain the help of a merc for very little reward.

"$20? Right now that's a lot."

[Korgs130]

Found this interview with Pedro Pascal. At the 2:31 mark he reveals The Mandalorians name...Dyn (or Dinn) Jarron.

https://youtu.be/11wor2uDnkA

[Boy Scout]

So while no there was no giant ice cream maker of credits or Beskar there was reward.


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FIFY

[jpmuscle]

https://www.facebook.com/10000024431...98?d=n&sfns=mo

You all will click on this and you all will laugh.
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[Nowski87]

I clicked it and I died.


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[Firefly]

Baby Yoda liking Trap/Crunk is now canon.

I have spoken

[jpmuscle]

https://www.facebook.com/36178963438...5?vh=e&sfns=mo





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[Boba Fett v2]

The last episode was an homage to the reluctant hero theme in case some of you weren't paying attention. Similarly, the idea of inspiring helpless and otherwise peaceful villagers to take up arms to defend themselves against tyranny has proven to be a successful storytelling formula (e.g. The Three Amigos, Kung-Fu Panda 3, A Bug's Life, the original Stargate movie, etc.) that many people empathize with.

https://tv.avclub.com/the-mandaloria...one-1840097335

It’s pretty impressive, how vigorously The Mandalorian is celebrating and incorporating classic Western tropes with each new episode, leaving no doubt whatsoever as to what creator Jon Favreau is trying to do here. Episode four, “Sanctuary,” utilizes a narrative so iconic that I couldn’t find just one classic example to represent it: Kurosawa’s Seven Samurai (which led to the American Western classic The Magnificent Seven) is perhaps the closest, though one could also mention the Clint Eastwood classic High Plains Drifter, and the prominent presence of a beautiful widow also invokes Once Upon a Time in the West. But the threads of this story are all pretty familiar: an unlikely hero gets asked to protect a town of innocents from an overwhelming threat.

Of course, in these stories, the unlikely hero starts off reluctant to help, and in this case, The Mandalorian has a very good reason for wanting to stay out of the problems affecting a small village of krill farmers on Sorgan. Having picked this planet because he’s looking for a quiet place (or, in his words, “a back water skud hole”) where no one might track down him and Baby Yoda, all he wants is to lie low for a few months.

Upon his arrival, though, he encounters Cara Dune (the much-anticipated first appearance of Gina Carano), a former “shock trooper” who worked for the Rebellion until after the fall of the Empire. For unspecified but clearly justified reasons, she’s also hiding out on Sorgan — and as she informs Mando following a well-matched scuffle (ending, John Woo-style, with them both pointing blasters at each other), she was there first.

So, the Mandalorian and Baby Yoda (who just loves tagging along with his new surrogate daddy, and god it’s cute to watch him scurry to keep up) prepare to pack up and find another planet, until two krill farmers track him down in the woods. At the beginning of the episode, their village was raided by Klatoonian raiders, and they’re hoping that he’ll be able to chase off the raiders and protect them. (How they know about the Mandalorian and where to find them is a detail that seems to get left on the cutting room floor; presumably, they heard something about him being spotted at the local common house, but it’s not necessarily an important detail.)

Mando isn’t interested in helping them, until they mention just how remote their village is — still in need of a place to hide out, he agrees to help, and even convinces Cara to team up. She’s skeptical this will be worth their time (especially since the farmers are basically paying them “lunch money”), but her tune changes dramatically once they figure out that the raiders have a AT-ST at their disposal. Taking on one of these deadly Empire transport/weapons turns an easy protection gig into what Cara immediately sees as a lost cause, but when she and Mando try to convince the farmers that they need to give up and leave, the farmers refuse. After all, this is their home.

So instead Cara and the Mandalorian put the farmers through some basic combat training, preparing for battle with blasters and pointed sticks. Meanwhile, the Mandalorian has gotten attached to Omera (Julia Jones), a widow whose daughter loves Baby Yoda (which, understandable) and who seems to understand a bit about the customs which keep his face hidden.

For those who have not made an intense study of the Mandalorian Wookiepedia entry (or even casually googled the question “how do Mandalorians eat?”), we learn this week that Mandalorians do take their helmets off for basic necessities, but never in front of other people. Our hero here, who we know was taken in by the tribe after the death of his parents, says that he hasn’t shown his face to another person since he was a child, because he remains loyal to “the way.” He also explains to Cara later that he could take the helmet off, if he wanted to — he could just never put it back on again.

Omera stands out as the only farmer with real skill at shooting, but the other farmers work hard to prepare for battle. (Gotta love a training montage.) The battle that ensues is relatively simple — the raiders, lured out to the krill ponds, are met with an ambush, and thanks to the bravery of Cara, the AT-ST is successfully lured into the trap they’ve set, and Mando runs up to toss a grenade into the control cabin. But episode director Bryce Dallas Howard makes sure that every beat is clean and precise, with an emotionally satisfying conclusion.

The remaining raiders run away, the day is saved, and a few weeks later, Cara, the Mandalorian and Baby Yoda seem to have found a level of comfort among the farmers — Baby Yoda especially seems to love playing with the other children there. It could be a good life for them, especially because, as Cara notes, all it would take for Mando to “settle down with that beautiful young widow” is taking off the helmet. But it’s something he can’t bring himself to do, at least in part because he knows that their battle with the raiders will have attracted some attention, and it isn’t safe for him to stay.

It’s a real credit to Pedro Pascal’s performance, which by necessity relies so heavily just on his voice, that his genuine consideration about settling down with the farmers comes through; the audible catch in his throat when he says “it would” be nice to have some peace only makes the next beat of the scene, in which he tells Omera that it’s not possible for him, that much more affecting.

The Mandalorian does plan to leave Baby Yoda behind with Omera, as life on the run is no place for a baby, 50 years old and Force-powered or otherwise. But when a lone tracker does eventually find them, it’s not Mando or Cara that’s in the crosshairs — it’s the child. Thus, the Mandalorian knows that to protect the village, as well as his new charge, they have to remain together, and so it’s off to the next adventure. “Sanctuary” may be the closest this show has come yet to a stand-alone episode, but it’s really fun to witness how these sorts of stories can enhance our understanding of who the man is, beneath the mask.

I think some might feel the last episode felt a bit different from the initial three in that the first three episodes felt more like a three-part story that spoke to the brutality of survival in the outer-rim (wild west) and we really didn't know what to expect. The last episode was more stand-alone in nature and wrapped up as quickly as it started. Keeping in mind that these are half hour long episodes, they tried to fit a lot into a short amount of space. Had this been a two-part story I think it could've been fleshed out a bit more. As Greg Bell stated, you sort of get an A-Team vibe with this episode in that a former soldier in hiding teams up with a Lone Wolf and Cub on the run. "Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team."