Everybody’s been gushing about the second season finale for The Mandalorian. After all, it’s got CGI! Behold, a tick to make Hollywood actors more attractive than they are in real life! What more could one want as a going-away present to get us through the long, dark offseason that before it is filled with WandaVision and seven other temporary fulfillments of the vacant holes in our souls. Character agency? Pshaw.
So, y’know, spoiler warnings and whatnot. But you clicked through on something that clearly referenced what I was reviewing. If you didn’t want to know about the menage-a-trois between Mando and Captain Kirk and Harry Potter, it’s kinda your own fault now.
And honestly, I’m at least a year behind the times on this, but Mando the Mandalorian? Really? Maybe it’s a good thing they waited a year and a half to name Baby Yoda. It gave us time to name it Baby Yoda instead of, I don’t know, Bob, which is probably the name they would’ve given it if they’d been forced to come up with one. Fighting alongside Humo the Human.
And yeah, I know Baby Yoda has a real name now. But sorry, producers, ya done waited too long and he’s forever gonna be Baby Yoda now.
I’m probably not the best person to review the second season finale of The Mandalorian, considering I’ve been a whole lotta meh on the series as a whole. One of the reasons this is coming a month after the series ended is because I wasn’t planning to watch season two at all, until I heard about the ending.
Some of my friends incessantly gush about the show. They’ll note that the red hat in the background of one scene was an homage to an outtake from Episode II wherein Jar Jar Binks shoved a red hat up his hoo-ha only to find out that he was color blind. Meanwhile I fixated on asinine things like there’s no way the little kid Boba Fett in Episode II could grow up to be the old dude Bob Fett in this show. I feel like he switched ethnicities. Maybe being pooped out by the Sarlacc changes your accent. Or maybe he’s a character that never shoulda taken the helmet off. Or, you know, returned at all.
Cue Poe Dameron. Somehow, Boba Fett returned. If the answers disappoint you, perhaps you should stop asking questions. About anything.
“It’s like a Western,” my friends say. “Like Kung Fu.”
People called the Han Solo movie a western, too. Amazing how many westerns take place in space. Ironically, I really liked the Han Solo movie. I don’t know if it was because of any Outlaw Josie Wales motifs. The best part of the movie was Donald Glover doing a spot-on impression of Billy Dee Williams, circa 1979.
I’m not a huge Western fan, but I’ve seen my fair share of Bonanza episodes. I even visited the Ponderosa up at Lake Tahoe when it was a kinda, sorta amusement park/homage to the show. You could get there early and have a pancake – sorry “flapjack” – breakfast, complete with whiskey in your coffee and I was only 22 and shit, howdy, while I loved me some Baileys and coffee, I don’t know that I was quite ready for whatever rotgut they were throwing in there.
Regardless, I never once say the Mandalorian call for Hop Sing, nor ride his horse into Carson City, so I don’t quite think it’s a western.
But fine, let’s pretend that both Solo and The Mandalorian are westerns. Let’s pretend they’re both Kung Fu. You know what was great about Kung Fu? You didn’t have to watch every episode.
Back in the 1970s, we didn’t have every Disney movie and show, except for Song of the South, available whenever we wanted. Your options for “children’s programming” were Saturday mornings or afternoon syndications or PBS mid-mornings.
And if you wanted Star Wars content on TV, good fucking luck. Far too valuable of a commodity to sell TV rights for. Your only option was the now infamous Holiday Special with Bea Arthur, who played a hideous tentacled alien species who reside with their Sicilian mothers in Miami retirement communities.
What’s that? Bea Arthur’s character was a human bartender? If you say so.
But we can all agree that Golden Girls was thinly-veiled tentacle porn, right?
We also didn’t have Netflix dropping an entire season of a new tv show all at once in the 1970s. “Binge Watching” meant not getting our asses off the couch to change to one of the other five channels. Because we had no remote control, so might as well keep the TV tuned to this station and see what’s on next. The Jeffersons? Sold!
Heck, most homes didn’t even have VCRs until well into the 1980s. So if you weren’t going to be home for your favorite show, you were more or less fucked. There was a chance said episode might rerun during the summer, but not every episode did. A typical season might have 20-some episodes, but only about ten weeks of reruns. And really, who wants to be inside during summer evenings? Nobody. That’s why TV networks ran reruns.
The first serials, like Dynasty and Dallas, didn’t hit the market until after VCRs were around. So if, say, wife was going into labor, they didn’t have to decide between calling in a midwife or never finding out who shot J.R.
Then again, waiting till your wife is in labor to figure out how to set the clock on the VCR was a really bad idea.
Obviously, TV has come a long way since then. Most shows are designed to be watched back-to-back. Season-long storylines are now the norm. There’s no reason to ever “miss” an episode. Even more so with subscription services.
So I was a little disappointed with the utter lack of continuity in the first season of The Mandalorian. I spent the first few episodes trying to follow every little plot thread, keeping track of all of the hints at what had happened in the five years between Return of the Jedi and the start of this show. But I was hard pressed to find any through-lines.
After a few episodes, I saw someone refer to The Mandalorian as a video game. Each episode was a different level, with a boss fight at the end, after which he leveled up with a fancy new weapon. That explanation crystalized my nagging, unfulfilled feeling while watching it.
During season two, I saw a much funnier explanation of the same thing.
Again, it wasn’t that I thought The Mandalorian was bad. It was fine. It just didn’t give me a reason to want to tune in. It’s Kung Fu and I’ve got a whole slew of Falcon Crests on my plate. I’m talking The Boys and Witcher. WandaVision was on the horizon and I still hadn’t finished Daredevil. Hell, even sitcoms like The Good Place and Schitt’s Creek have continuing plotlines now. How can a Star Wars property be so episodic?
I resolved not to watch season two. Maybe “resolved” is a bad word. It wasn’t a boycott. It was asking myself if I cared enough to tune in. and answering with a resounding. “meh.”
I heard about Boba Fett. I shrugged. Never cared too much for a character with a whopping ten minutes of screen time in the first trilogy. The Mos Eisley saxophone player showing up wouldn’t have me running either.
Then came the announcement about the finale.
God damn it.
So again, if you haven’t heard about the ending now, approach with caution.
A de-aged Mark Hamill shows up.
Which ruined everything.
Let me back up.
I’m not opposed to the idea. We were all hoodwinked into thinking there was no way any of the original characters would show up, other than those in masks, although we probably shoulda seen it coming. After all, they had already done that with Carrie Fisher in Rogue One. Then, to one up themselves, they put her in Rise of Skywalker after she was dead.
My problem with the Luke Skywalker cameo wasn’t the obvious “gotcha” quality of it, nor that I was duped into watching the entire second season for it. And yeah, it was dramatic as hell. Impressive. Even knowing what to expect, my heart raced when that lone X-Wing came out of hyperspace to board the ship.
But from a storytelling motif, it’s totally bullshit. Deus ex machina, anyone?
The second half of season two was actually fixing a lot of the problems I had with season one. There was a cohesive plot, a through-line of getting Baby Yoda to “the jedi.” And after Baby Yoda got kidnapped by Gus the Los Pollos Hermanos dude, there was actually momentum building toward the finale. Even a wee bit of character development, if I dare say.
Seriously though, Giancarlo Esposito has been sorely underused in this show. Anybody who can steal scenes in a show like Breaking Bad should be running circles around an MMA fighter and a dude in a mask. Dude can play cold-blooded sociopath, and y’all got him playing Dr. Evil.
Unfortunately, Gus the Chicke Dude and the MMA fighter and the dude in a mask who the fucking show is named after, those characters I finally got to know over the episodes leading up to the finale, were thrown to the sideline in the culminating scenes, so Luke could come in with his fancy lightsaber. Like whoever the old Tampa Bay quarterback was when Tom Brady decided he wanted to move south for the winter. Maybe they need to change the title of The Mandalorian to include the character we’re actually supposed to care about. Season three’s working title: Hey maybe they can get a Han Solo cameo, too.
Okay, so they set the scene in the finale by showing us the Terminator. They called them Dark Troopers or Storm Shadows or something, but they were basically the Terminator. Or Ultron. Basically, half storm trooper, half robot, so we shouldn’t worry about the moral qualms about murdering them. Not that we’ve ever had any issue of mass slaughter of bad guys before. Weren’t the stormtroopers understood to be clones, anyway? Although, let’s be honest, that wasn’t established until the fifth movie. We went at least the entire original trilogy assuming those were real people.
Speaking of which, why did they clone a guy that was such a shitty shot with a blaster?
In typical superhero stuff, they show us that one fight with one of these fuckers was almost too much for the hero. Mando the Madalorian used up all of his weapons to no avail. He was finally able to defeat dude using a one-time weapon that he wouldn’t be able to use again. And now they’re showing Mando and his friemds, trapped in the bridge of an imperial cruiser, about to face twenty of them. How ever shall our hero make it out of this quandary?
It’s a standard motif in the fantasy/sci-fi/superhero genres. Our hero is shown being totally outmatched by his opponent only to finally discover the way to beat them later. Sometimes said hero discovers a weakness and exploits it. The James Bond route. Other times, a la Rocky III, the hero realizes he wasn’t taking the fight seriously the first time. More often, it’s done lazily. I guess all Superman had to do to beat Zod was level half of Metropolis. Too bad he didn’t try that the first time.
Even when it’s done poorly, though, there’s still some payoff. Some conclusion. Ultron could beat all of the Avengers with barely a thought, but once you’ve got a city flying in the air and the Avengers are simultaneously saving civilians AND fighting Ultron, well then, that’s how they win. Divided attention always makes us stronger.
So how did Mando and his pals finally overcome this threat? One took everything he had, and now he’s facing an army! Perhaps the three episodes they’ve been together will culminate into working together as a team, each member intuiting the others movements. Perhaps the imminent threat on his only father figure will finally push Baby Yoda beyond the threshold, resulting in a focused blast of force power he’s never manifested before. Perhaps Mando goes all MacGyver and creates twenty of those spear things he used earlier.
Or maybe they’ll all just stand there and watch it play out on a fucking screen.
Look, I know Jon Favreau is a better plotter than I’ll ever be. He’s as much to credit as Robert Downey, Jr. for the entire MCU existing. But that was utter bullshit. Would we have been happy if, in the final battle against Obediah Stane in the first Iron Man movie, the Hulk randomly showed up and beat the shit out of the bad guy, with Tony Stark unconscious on the sidelines?
But if it’s Luke Skywalker instead of Bruce Banner, all bets are off. As the “debate” over The Last Jedi proved, Skywalkers are the only beings in the entire Star Wars universe who are EVER allowed to resolve ANY conflict. Or maybe the Emperor.
There were ways to bring Luke back without being the deus ex machina, without stealing all agency from the main character. They could’ve gotten out of the situation then delivered Baby Yoda to Luke, similar to the Rogue One Princess Leia scene. I even would’ve been fine with Luke showing up to help Mando, who was already fighting back on his own. But the title fucking character should not be a fucking bystander for the ultimate battle.
How’s season three gonna go? Is he just going to stop trying to get out of situations? I mean, the more dire the situation, the more likely Zeus will fly in to save the day, right? Just tell Baby Yoda (who we all know will still be prominently featured in season 3 despite “leaving” with Luke) to call for Papa.
Or maybe they’ll just wait for Han Solo this time.