Mandalorian episodes in season 1

Mandalorian episodes in season 1 DEFAULT

This is the way… to quickly revisit everything that happened in Season 1 of The Mandalorian.

It’s been close to a year since Disney+ returned us to that galaxy far, far away and introduced the Child aka “Baby Yoda.” But much has happened since then — both in the Outer Rim and right here on good old planet Earth. So we don’t blame you if you can’t tell your lightsabers from your Darksaber, or your Jawas from your Tusken Raiders.

We would hate for you to go into Season 2 (premiering Friday, Oct. 30) feeling like the victim of a Jedi mind trick, so here is your hyperdrived “quickcap” of all episodes from The Mandalorian’s freshman run. Give it a read before the new season premieres. Or, if you want more detail, check out our full Season 1 episode recaps, which are linked within as well.

What are you waiting for? Crack open a bottle of blue milk and get to remembering!

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'The Mandalorian' Season 1 Recap: All 8 Episodes Explained in Less than 60 Bullet Points

By Liz Shannon Miller

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Want to refresh your memory of what happened in 'The Mandalorian' Season 1? Here are some very helpful bullet points for you!

[Editor's note: The following contains spoilers through the Season 1 finale of The Mandalorian, "Chapter 8: Redemption."]

The Mandalorian Season 1 is a unique set of episodes when compared to others of its like. On the surface, it's a relatively simple narrative with (to use video game parlance) more side quests than main mission, there are still a lot of details packed into the storyline, not to mention a wild array of new characters inhabiting a whole new side of this universe.

The cleanest way, I felt, to break down everything that's happened so far in the Disney+ Star Wars drama was to go episode by episode, and bullet point by bullet point. While we don't know what's planned for Season 2, we do know that a lot of it will riff not just on pre-established Star Wars lore, but everything we learned about Din Djarin (though let's just call him Mando here, because it's easier to spell) and The Child (though let's just call him Baby Yoda here, because duh) still took 56 points to encapsulate thoroughly. For more, also see all our pre-existing Mandalorian coverage.

Chapter 1: "The Mandalorian"

  • We meet the titular Mandalorian (Pedro Pascal) as he completes his latest job, nabbing a Mythrol (Horatio Sanz) from a cantina on the planet Maldo Kreis.
  • His latest bounty secure in carbonite, he heads to Nevarro in search of more work. But the best that Greef Karga (Carl Weathers) can offer is an off-the-books job, dealing directly with...
  • ...a Client (Werner Herzog), a former Empire official surrounded by stormtroopers, who wants Mando to track down a target with no bounty puck. All that's revealed is that the target is 50 years old and has a tracking signal.
  • Mando arrives on the planet Arvala-7, a relatively desolate place except for some Blurrgs and Kuiil (voiced by Nick Nolte), who is able to guide him to where the target might be.
  • Mando finds the settlement! Mando also finds a bunch of armed guards to fight, who are also fighting IG-11, a bounty droid also tracking Mando's target. The two agree to work together.
  • That partnership lasts a hot minute, as while the two of them are able to fight their way through the hoard and locate the target, the target turns out to be... Baby Yoda!
  • IG-11 wants Baby Yoda dead. Our buddy Mando, though, disagrees with that idea, and blasts IG-11 out of commission — leaving him alone with this strange Child.

Chapter 2: "The Child"

  • Good news for the Mandalorian! Baby Yoda comes with his own carrying case, making it easier for him to be transported across the Arvala-7 desert.
  • Bad news for the Mandalorian! Jawas have stripped his ship the Razor Crest for parts! And despite Mando giving most valiant chase, he isn't able to force the return of those parts!
  • However, with Kuiil's help, he is able to strike a deal: He acquires the "egg," and they'll give him back what was stolen.
  • To get said egg, Mando has to face down a mudhorn, which nearly takes him out... but for the intervention of Baby Yoda, who uses his Force powers to levitate the beast.
  • Baby Yoda takes a long nap while Mando and Kuiil work together to fix the Razor Crest. Mando offers Kuiil a job, but he is happy to "be free of servitude." Mando flies off.

Chapter 3: "The Sin"

  • At some point since fighting the mudhorn, the Mandalorian and his armor have taken a shower. He lets Baby Yoda roam around his ship's cockpit, though draws the line at letting the baby play with a silver ball attached to some of his equipment.
  • The Razor Crest returns to Nevarro, where Mando makes his delivery to the Client. He is... reluctant about it, though.
  • Mando takes his shiny new pile of beskar steel to the Armorer (Emily Swallow) to get upgraded to a shiny new set of armor. Next time he walks into the club, he is looking dope.
  • But he's not feeling so dope — even though Greef tells him to walk away and enjoy his new riches, Mando can't leave behind his beautiful alien son. So he decides to storm the Client's chambers and get him back!
  • Mando arrives just in time to stop Dr. Pershing (Omid Abtahi) from doing evil experiments on Baby Yoda, which is good!
  • But this turns the entire settlement of mercenaries against Mando, as he rushes to his ship with Baby Yoda in his arms — even Greef tries to take him down. But the other Mandalorians living underground, despite an earlier dispute, end up coming to his aid. (Some of them have sweet jetpacks! That will be important later.)
  • And so we begin as we end, with Mando and Baby Yoda on the road. Except this time, they're on the run. At least now, Mando will let Baby Yoda play with the sillver ball!

Chapter 4: "Sanctuary"

  • The Mandalorian knows that the best thing for him to do right now is lay low, so he lands on the planet of Sorgan, which seems chill from orbit.
  • Unfortunately, it is not chill! A local village is being terrorized by raiders, and when the villagers see a whole-ass bounty hunter has arrived in the area, they go to him for his help.
  • Mando reluctantly agrees, and enlists Cara Dune (Gina Carano) — a former shocktrooper for the Rebels who also happens to be hiding out on Sorgan — to help him.
  • Together, they manage to train the villagers to fight back! Even against an AT-ST!
  • And Baby Yoda makes friends with the local kids! And almost gets to eat a frog!
  • Mando also bonds with Omera (Julia Jones), a hot widow who's great with a blaster and might be able to offer him some peace. At the very least, Mando plans to leave Baby Yoda with her, since traveling with him is no place for even the most Force-sensitive of babies.
  • Unfortunately, bounty hunters are still after Baby Yoda, and rather than risk the hot widow and her village, Mando decides to take off again. Baby Yoda is sad to leave his new young friends.

Chapter 5: "The Gunslinger"

  • Bam! The Razor Crest is under attack by yet another bounty hunter! Which the Mandalorian, of course, finds annoying. He manages to take out the other ship, but sustains some pretty serious damage to his own as a result.
  • So a pit stop on Tatooine is required, with Peli Motto (Amy Sedaris) hired to handle the repairs (with no droid help, as Mando isn't a huge fan of droids after the massacre of his family).
  • Repairs require money, so Mando goes looking around the cantina for potential work, encountering Toro Calican (Jake Cannavale), who asks for help tracking down the bounty for an elite mercenary named Fennec Shand (Ming-Na Wen).
  • Mando and Toro track her through the Tatooine desert, eventually nabbing her. But Toro proves to be an untrustworthy partner, shooting Fennec after she tells him that Mando is worth a lot more than her.
  • Toro's attempt at betrayal, though, is foiled with some help from Peli, and the Razor Crest sails away!
  • Only one twist — a spurs-wearing figure does approach Fennec's body, meaning that her story may not be over, and it may be what brings Boba Fett into the mix in Season 2.

Chapter 6: "The Prisoner"

  • Things begin with Mando reaching out to an old buddy named Ran (Mark Boone Jr.), and getting hired onto a jailbreak mission with a shady crew including Mayfeld (Bill Burr), Xi'an (Natalia Tena), Q9-0 (Richard Ayoade), and Burg (Clancy Brown).
  • The jailbreak has its ups and downs, with the crew not exactly warming up to Mando even though he's able to take out an entire squad of droids once they're on the prison ship.
  • Also, once they retrieve Qin (Ismael Cruz Cordova), Xi'an's brother, they betray Mando and leave him behind in a cell.
  • Mando breaks out of the cell, takes down the rest (leaving them alive, but trapped in a cell), and brings Qin back to Ran — executing the mission, "no questions asked."
  • Ran then attempts to kill Mando as he flies away — but Mando, ever the clever one, plants a tracker on Qin and X-Wings (with pilots played by directors Deborah Chow, Rick Famuyiwa, and Dave Filoni blow up Ran's base. Shoulda known better, Ran!

Chapter 7: "The Reckoning"

  • Mando gets an offer he can't refuse from Greef — the opportunity to make things square between them, and take down Imperial Officer Werner Herzog and his men — even though it means returning to Nevarro.
  • However, because Mando's not stupid, he decides to collect reinforcements, specifically Cara, Kuiil, and a reprogrammed IG-11.
  • How did Kuiil reprogram IG-11 to stop being an assassin and start serving tea? If that was a question you had, never fear, as there's an entire montage devoted to the answer.
  • Mando and his new squad roll into the outskirts of Nevarro, uniting with Greef. No one clearly trusts anyone else, even after fighting off a pack of mynocks together.
  • The mynock attack matters because Greef gets badly hurt... until, that is, Baby Yoda lays on hands and uses the Force to heal him. As these mercenaries don't hang around with the Skywalkers all that often, Baby Yoda's magical abilities change the tone for everyone.
  • In fact, Greef decides not to betray Mando and Cara after all! Instead, the three of them head into town with Baby Yoda staying behind with Kuiil where he'll theoretically be safe.
  • As the Client prepares to receive his merchandise, he gets a call from Moff Gideon (Giancarlo Esposito) — who has the place surrounded with stormtroopers, ready for an all-out assault.
  • The first wave of attacks take out the Client, while far more importantly Moff Gideon sends two troopers out to reacquire Baby Yoda from Kuiil's care. They kill Kuiil! It sucks, y'all.

Chapter 8: "Redemption"

  • The troopers who nabbed Baby Yoda (played by Jason Sudeikis and Adam Pally, if you didn't know!) are hanging around on the outskirts of town, shooting the shit, doing some terrible target practice, and punching the baby. In short, they deserve what's coming to them, and what's coming to them is delivered by IG-11, doing his nursemaid duty by taking the troopers out and zooming away on a speeder.
  • Meanwhile, that standoff between the Mando Squad and Moff Gideon's duders is still happening — Mando comes up with the idea to escape into the sewers, just as the Imperial forces start setting up an E-Web heavy repeating blaster (which, to be clear, is bad).
  • Gideon attempts to negotiate but the Mando Squad isn't on board. Their odds during the ensuing firefight improve once IG-11 shows up, but Mando gets badly hurt and tells them to leave him behind as they retreat into the sewers.
  • Baby Yoda, who had tried to be helpful before by holding off some fire, goes with Greef and Cara. But IG-11 doesn't, and thanks to the technicality that as a droid, he doesn't really count as a "living thing," the droid-hating Mandalorian allows his helmet to be removed so he can receive medical care. And look at Pedro Pascal's wonderful face! Hooray!
  • Everyone makes their way down to the sewers, where they discover that the Mandalorian colony which was living below ground is no more, following an Imperial attack. All that remains is the Armorer, salvaging what was left behind.
  • Like everyone else, the Armorer wants to see the baby, and after getting the full story from Mando, she tells him that Baby Yoda, as a foundling, needs to be returned to his people. She also gives Mando his official mudhorn signet, declaring him and Baby Yoda to be "a clan of two." He also gets a sick jetpack!
  • The Mando Squad leaves with stormtroopers hot on their tail — but the Armorer takes care of at least a half dozen of them. (Fingers crossed she survives overall.)
  • On the run, they locate a boat that can transport them down a molten lava river, and IG-11 sacrifices itself nobly to destroy the stormtroopers waiting for them at the exit. They get one whole heartbeat to relax before Moff Gideon shows up in a goddamn TIE fighter to try to kill them.
  • Here is how Greef tries to get Baby Yoda's help: "Come on baby! Do the magic hand thing!" This is, perhaps, the best line of dialogue of the whole season.
  • Baby Yoda does not do the magic hand thing, alas. Instead, Mando fires up that sick jetpack and attacks Gideon in the air, planting a bomb on the ship and causing it to crash! He even manages to land on his feet.
  • Greef asks Cara to become his enforcer, while Mando jetpacks away with Baby Yoda, ready to take on the mission the Armorer tasked him with.
  • He does stop to bury Kuiil, though, which is very nice of him.
  • Less nice — oh no, Moff Gideon is still alive! And he's got a darksaber! That might be important, come Season 2.

And... yeah, so that's what happened in The Mandalorian Season 1. Season 2 premieres Friday, October 30 on Disney+.

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Liz Shannon Miller (461 Articles Published)

Liz Shannon Miller is a Los Angeles-based writer and editor, and has been talking about television on the Internet since the very beginnings of the Internet. She is currently Senior TV Editor at Collider, and her work has also been published by Vulture, Variety, The AV Club, The Hollywood Reporter, IGN, The Verge, and Thought Catalog. She is also a produced playwright, a host of podcasts, and a repository of "X-Files" trivia. Follow her on Twitter at @lizlet.

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The Mandalorian

American television series

This article is about the television series. For the fictional group of people, see Mandalorians. For the title character, see The Mandalorian (character).

The Mandalorian is an American space Western television series created by Jon Favreau for the streaming service Disney+. It is the first live-action series in the Star Wars franchise, beginning five years after the events of Return of the Jedi (1983). It stars Pedro Pascal as the title character, a lone bounty hunter who goes on the run after being hired to retrieve "The Child".

Star Wars creator George Lucas had begun developing a live-action Star Wars television series by 2009, but this project was deemed too expensive to produce. He sold Lucasfilm to Disney in October 2012. Subsequently, work on a new Star Wars series began for Disney+. Favreau signed on in March 2018, serving as writer and showrunner. He executive produces alongside Dave Filoni, Kathleen Kennedy, and Colin Wilson. The series' title was announced in October 2018, with filming starting at Manhattan Beach Studios in California. Visual effects company Industrial Light & Magic developed the StageCraft technology for the series, using virtual sets and a 360-degree video wall to create the series' environments. This has since been adopted by other film and television productions.

The Mandalorian premiered with the launch of Disney+ on November 12, 2019. The eight-episode first season was met with positive reviews, was nominated for Outstanding Drama Series at the 72nd Primetime Emmy Awards, and won seven Primetime Creative Arts Emmy Awards. A second season premiered on October 30, 2020, and a third season, which is currently filming, is expected to be released in 2022. Several spin-off series will expand on the series' timeline, including The Book of Boba Fett and Ahsoka.

Premise[edit]

Beginning five years after the events of Return of the Jedi (1983) and the fall of the Galactic Empire,[1][2]The Mandalorian follows Din Djarin, a lone Mandalorian bounty hunter in the outer reaches of the galaxy.[2] He is hired by remnant Imperial forces to retrieve the child Grogu, but instead goes on the run to protect the infant.[3][4] While looking to reunite Grogu with his kind, they are pursued by Moff Gideon, who wants to use Grogu's connection to the Force.[5][4]

Cast and characters[edit]

Main article: List of The Mandalorian characters

Pedro Pascal stars as Din Djarin, the series' title character and a lone bounty hunter.[2][6][7] Pascal compared the character to Clint Eastwood, with advanced combat skills and of "questionable moral character".[8] The character's real name is not given until "Chapter 8: Redemption", but Pascal accidentally revealed it early in November 2019.[7] His bounty in "Chapter 1: The Mandalorian" is "The Child"—colloquially known as "Baby Yoda" by audience members—an infant of the same species as Star Wars character Yoda. He is created with animatronics and puppetry, augmented with visual effects. He becomes the Mandalorian's ward,[3] and his name is revealed to be Grogu in "Chapter 13: The Jedi".[4]

The first season features several recurring co-stars, including Carl Weathers as Greef Karga, leader of a bounty hunter guild;[9][8]Werner Herzog as "The Client", an enigmatic man;[9][10]Omid Abtahi as Dr. Pershing, a scientist working for the client;[9][11]Nick Nolte as the voice of Kuiil, an Ugnaught moisture farmer who helps the Mandalorian;[12][13]Taika Waititi as the voice of IG-11, a bounty hunter droid;[14][8]Gina Carano as Cara Dune, a former Rebel shock trooper-turned-mercenary;[15][8]Giancarlo Esposito as Moff Gideon, a former officer of the Imperial Security Bureau;[9][16] and Emily Swallow as "The Armorer", a Mandalorian who forges armor and equipment from beskar steel.[9][17]

Esposito, Carano, Weathers, and Abtahi return for the second season.[5][18] Several actors appear as characters from previous Star Wars media, including Timothy Olyphant as Cobb Vanth,[19][20]Temuera Morrison as Boba Fett,[21][22]Katee Sackhoff as Bo-Katan Kryze,[23][24]Rosario Dawson as Ahsoka Tano,[25][4] and Mark Hamill as Luke Skywalker.[26] Other recurring co-stars for the second season include Amy Sedaris as Peli Motto, reprising her role from the first season;[20] Misty Rosas, who was the on-set performer for Kuiil in the first season, as the Frog Lady;[27]Mercedes Varnado as Koska Reeves;[24] and Ming-Na Wen as Fennec Shand, also reprising her role from the first season.[22]

Episodes[edit]

Season 1 (2019)[edit]

Main article: The Mandalorian (season 1)

Season 2 (2020)[edit]

Main article: The Mandalorian (season 2)

Season 3[edit]

Main article: The Mandalorian (season 3)

Production[edit]

See also: Production of season 1, season 2, and season 3

Background[edit]

Star Wars creator George Lucas began development on a live-action Star Wars television series known as Underworld in early 2009. More than 50 scripts were written for the series by 2012, but they were eventually deemed too expensive to produce.[28] In January 2013, ABC president Paul Lee stated that his network would be discussing potential live-action Star Wars television series with Lucasfilm after the latter had been sold by Lucas to ABC's parent company The Walt Disney Company in October 2012.[29] In November 2017, Disney CEO Bob Iger announced that Disney and Lucasfilm were developing a live-action Star Wars television series for the new streaming service Disney+.[30]

Development[edit]

While working on The Lion King (2019), a photo-realistic remake of the 1994 animated film, in 2017, director Jon Favreau pitched an idea he had for a Star Wars television series to Lucasfilm president Kathleen Kennedy. Kennedy suggested Favreau discuss the idea with Dave Filoni, executive producer on the animated series Star Wars: The Clone Wars and Star Wars Rebels.[31] Favreau and Filoni had met at the Skywalker Ranch when Favreau was working on Iron Man (2008) and Filoni was working on the first season of The Clone Wars, and Favreau subsequently voiced the Mandalorian character Pre Vizsla in The Clone Wars for Filoni.[8] When Favreau met with Filoni about his series idea, the latter drew a doodle of a baby of the same species as the Star Wars character Yoda which became "The Child".[31] Favreau wanted to explore the "scum and villainy" of the Star Wars universe following the events of the film Return of the Jedi (1983).[8] He began spending several hours at the end of each day developing the series while he was directing The Lion King.[31]

Lucasfilm announced that Favreau would write and executive produce a new Star Wars series for Disney+ in March 2018. Kennedy added that the series was an opportunity for a diverse group of writers and directors to be hired to create Star Wars stories, after the franchise's films had been criticized for being written and directed solely by white men.[32] In May, Favreau stated that he had written scripts for four of the series' eight episodes before being officially hired for the project.[33] On October 3, Favreau announced that the series was titled The Mandalorian and revealed the premise for the show.[2] The following day, Lucasfilm announced that Filoni, Kennedy, and Colin Wilson would executive produce the series alongside Favreau, with Karen Gilchrist acting as co-executive producer.[34] The series premiere was set to be available with the launch of Disney+ in November 2019.[35] Star Pedro Pascal described the series as taking the space Western undertones from the Star Wars films "and infusing it with steroids".[36]

In July 2019, Favreau confirmed that there would be a second season of the series and that he had begun writing it.[37] Iger announced in February 2020 that the second season would premiere that October.[38] By late April, Favreau had been writing a third season for "a while" and further development on the season was beginning.[39] In September, co-star Giancarlo Esposito said the second season would "start to lay the groundwork for the depth and breadth that's going to come in season 3 and season 4, where you’re really gonna start to get answers."[40]

Casting[edit]

In November 2018, Pedro Pascal was confirmed to be portraying the Mandalorian after being rumored to be cast in the role for some time.[6] Pascal initially thought he was being cast as the Star Wars character Boba Fett due to the visual similarities between that character and the Mandalorian,[41] but the latter is actually a separate character named Din Djarin.[7] Favreau called Pascal "a classic movie star" who "had the presence and skill[s]" necessary to portray a character largely concealed under a helmet.[42] The Mandalorian is also portrayed by stunt doubles Brendan Wayne and Lateef Crowder.[43] Pascal worked with Favreau and Filoni to record the character's dialogue later.[44][42]

In February 2021, Lucasfilm said Gina Carano, a recurring co-star during the first two seasons, was no longer employed by the company. This came after Carano made a social media post comparing being a Republican in the United States to the treatment of Jewish people during the Holocaust, with Lucasfilm saying the post was "abhorrent and unacceptable".[45] Carano had been repeatedly warned about her social media posts by Lucasfilm executives who reportedly had been looking for a reason to fire her for two months. The February 2021 posts were "the final straw", and the decision to fire the actress was made by Lucasfilm executives rather than Favreau.[45][46] The Walt Disney Company CEO Bob Chapek said Carano was fired because her posts did not align with the values of Disney, which he said were "universal" and not political.[47]The Hollywood Reporter reported that Carano's role of Cara Dune was not expected to be recast, though industry insiders felt that was still a possibility due to story and merchandising reasons.[46]

Filming[edit]

The series is filmed at Manhattan Beach Studios in California.[3] Filoni directed the series' first episode, making his live-action directorial debut,[34][48] with Rick Famuyiwa, Deborah Chow, Bryce Dallas Howard, and Taika Waititi also directing for the first season.[34] Filoni,[49] Howard,[50] and Famuyiwa returned for the second season,[51] and were joined by Favreau (who was unable to direct during the first season due to his commitment to The Lion King),[48]Peyton Reed,[52] co-star Carl Weathers, and Robert Rodriguez.[52] Weathers will direct again in the third season.

New technology[edit]

Visual effects studio Industrial Light & Magic, a subsidiary of Lucasfilm, opened a new division in November 2018 called ILM TV, specifically intended for episodic and streaming television. Based in London with support from ILM's San Francisco, Vancouver, and Singapore locations, one of the first projects for the new division was The Mandalorian.[55] While directing The Jungle Book (2016), Favreau had used large screens on set to create interactive lighting so when live action footage was combined with a digital environment in post-production the effect would be more realistic. He found the process to be effective, but time-consuming.[56] When he began working on The Lion King, Favreau worked with visual effects vendor Moving Picture Company, technology developer Magnopus, and the game engine software Unity to develop a new virtual camera system that allowed him to film scenes in a virtual reality environment as if he was filming with physical cameras. For The Lion King, the results of the virtual photography were then rendered by MPC as final animation for the film.[3] On The Mandalorian, Favreau wanted to use the virtual technology to aid live action photography and also develop the video wall system.[3][56] ILM partnered with video game developer Epic Games to create a new system named StageCraft based on Epic's game engine Unreal Engine. StageCraft consists of large LED video screens on which digital environments can be rendered in real time for actors to perform in front of.[57][3]

During pre-production, the virtual photography process developed for The Lion King was used to plan the series' filming and determine what environments would be needed on set. The digital environments were then created by ILM and added to StageCraft ready for live action photography with the actors. Some of these environments were based on location photography in countries such as Iceland and Chile, on which Favreau said, "The actors aren't brought on location. The location is brought to the actors."[3] The environments were designed by the series' visual art department, led by Lucasfilm's creative director Doug Chiang and production designer Andrew L. Jones.[58] During filming, the digital environments were rendered on a video wall in real time, allowing the filmmakers and actors to see the environments.[57] ILM used a smaller version of the technology for Solo: A Star Wars Story (2018), but on The Mandalorian they utilized a 21-foot-tall (6.4 m) set that was 75 feet (23 m) in diameter, surrounded by a 360-degree semicircular LED video wall and ceiling. The Manhattan Beach Studios set is referred to as a "volume", which is traditionally the name for motion capture stages.[57][3] Favreau's initial intention was to use the video wall as a way to provide realistic interactive lighting for the actors, with a section of the screen behind the actors displaying a green screen so a higher quality version of the background could be added in post-production. During filming tests with the technology, the team realized that the Unreal Engine could render visuals fast enough that they could have the background move in relation to the camera. This allowed the system to maintain the appearance of parallax, where the environment would appear differently based on the angle it was being looked at just as a real 3D environment would. This effect causes some distortion to the image on the video wall, but looks like a real environment when viewed through the camera.[56] The images rendered on the video wall in real time were often of a high enough quality to be used as final effects when filmed on set.[57]

Physical elements were added to the volume to match the digital backgrounds, such as dirt on the floor to match dirt displayed on the video wall.[56] Interior spaces were also created, such as an office used by Imperial agents where the walls and ceiling were displayed on the video wall around a physical table.[57] The production had several physical sections of the Razor Crest, the Mandalorian's ship, that could be placed within the volume, such as having the front half of the ship physically built and the back half rendered digitally.[56][57] The environments could be manipulated in StageCraft on set as required, allowing the filmmakers to request changes to the environment and have them rendered on the video wall on the same day.[57] The production was able to change between environments within half an hour, or even faster if the physical elements within the volume were not visible and did not need to be changed.[56] One of the primary advantages of using the video wall technology was the realistic lighting, with the wall providing ambient light and accurate reflections on the actors. This was especially important for the Mandalorian, who wears reflective armor. Traditionally, on a production using green screen, the visual effects team would have to remove the green reflections from a reflective character or object in post-production, and then add new reflections that matched the digital environment. Using StageCraft, the reflections in the Mandalorian's armor were already correct on set. It also allowed for the series' cinematographers to light scenes in a way that would match the background, rather than lighting the set and hoping the digital background would match in post-production as they would have to do with green screen. A technique used by the production to ensure the lighting from the video wall looked natural was to have the actors in shadow, with light from the environment behind them, often creating silhouettes.[56]

Music[edit]

See also: Music of Star Wars § The Mandalorian

Composer Ludwig Göransson was recommended by several of his previous collaborators to Favreau, including directors Ryan Coogler and Anthony and Joe Russo, and musician Donald Glover. Favreau knew that music would be important to the series due to the impact of John Williams' score on the Star Wars films, but also wanted the music of the series to be different from the films. He wanted the series to sound "a little grittier, a little edgier and a little more tech-oriented".[59] Göransson first met with Favreau in November 2018,[60] when Favreau showed the composer concept art for the series and discussed his inspirations for the story and tone, including Western and samurai films. They also discussed how they felt when they first heard Williams' Star Wars music, and Göransson set out to recreate those feelings and "capture the soul of what Star Wars is" but in a new way.[61]

Göransson was announced as composer for the series in December 2018.[62] The basis of the main theme was created from Göransson experimenting with a bass recorder, digitally manipulating it to make it more "futuristic". Guitars, a piano, drums, and synthesizers are also featured in the main theme.[61] A 70-piece orchestra was used for the first season,[59][60] combined with recordings of Göransson playing the main instruments which he augmented with synthesizers and other digital manipulation.[60]Walt Disney Records released a soundtrack album for each episode of the first season.[60] Because of the COVID-19 pandemic, orchestra players were recorded remotely or in smaller, distant groups for the second season.[5] Two albums were released for the second season, each covering four episodes of the season.[63][64]

Themes[edit]

Parenting and fatherhood[edit]

One of the primary themes of The Mandalorian is parenting and fatherhood, particularly through the father–son relationship dynamic between the Din Djarin and the Child.[65][66][67] Ryan Britt of Fatherly wrote that this is unusual in Star Wars stories, and that past examples of parenting in the franchise have tended to be poor ones, from the murderous Darth Vader, father of Luke Skywalker, to the neglectful Galen Erso, father of Jyn Erso in Rogue One (2016).[65] Britt wrote: "For years the Star Wars franchise avoided depicting a parent-child dynamic. With Mando and Baby Yoda, that's finally changing."[65] The dynamic between Kuiil and IG-11 also reflect the childrearing theme in The Mandalorian. The two have a relationship similar to that of a father and son, as demonstrated in the scene in which Kuiil teaches IG-11 how to operate and function after the droid is reprogrammed.[68]

Vulture writer Kathryn VanArendonk argued that parenting has been the subject of past Star Wars stories, but almost always during later stages of parenthood, rather than an infant in early stages such as the Child. As examples, she cited Obi-Wan Kenobi serving as a mentor to the adolescent Anakin Skywalker, Princess Leia lamenting over her grown son Kylo Ren, or the absence of Rey's parents.[69] Britt argued strong parental examples in Star Wars are important because the franchise is so often associated with the childhoods of its fans.[65]The Mandalorian particularly highlights the challenges of being a single parent,[66][67] and a working parent, as the Mandalorian struggles to continue his day job as a bounty hunter and mercenary while serving as the sole caretaker of the Child.[69][67] Richard Newby of The Hollywood Reporter described the show as "the adventures of a single dad looking for a job".[70] Several reviewers have compared the dynamic between the Child and the Mandalorian to Lone Wolf and Cub, a manga about a samurai warrior and his young son.[71][72][73][74] Favreau acknowledged Lone Wolf and Cub as an influence in an episode of Disney Gallery: The Mandalorian.[75]

The Mandalorian's parental role in the series makes him a softer and more relatable character;[76] he changes in a positive way because of raising the Child, becoming less selfish and self-absorbed.[77] He risked his life and drastically changed his career as a bounty hunter to accept his responsibility as the Child's caretaker and guardian,[66][67] marking a significant parental sacrifice.[67] When the Mandalorian seeks work to earn money, he is now doing so to provide not only for himself, but for the Child as well.[66] We see several examples of the Mandalorian parenting the Child throughout the series, such as when he stops the Child from pressing random buttons in the cockpit of the Mandalorian's spaceship, ultimately by holding him in his lap.[65] In another example, the Mandalorian establishes a car seat for the Child in the cockpit of his ship, so he can be seated safely and comfortably during their travels.[78]

The relationship between the Mandalorian and the Child is an example of unexpected fatherhood.[69][77] The Mandalorian feels a connection and parental bond with the Child because of his own childhood, when he was orphaned upon the death of his parents and was adopted by the Mandalorian culture as a "foundling".[69] Nevertheless, fatherhood is not a role the Mandalorian initially seeks, and he makes repeated initial attempts to avoid this responsibility. He first does so in "Chapter 3: The Sin", when he first leaves the Child with the Client.[77] He does so again in "Chapter 4: Sanctuary", when he plans to leave the Child with Omera, a protective mother on the planet Sorgan, who is willing to take the Child into her own family. The Mandalorian does not fully commit to the role of fatherhood until the first-season finale, "Chapter 8: Redemption", when the Child himself is also adopted into the Mandalorian culture as a "foundling" and the Mandalorian is formally declared to be his father figure.[69] He nonetheless continues to search for what he feels may be a more appropriate guardian for the Child, as in the second season's fifth episode, "The Jedi", in which he seeks to leave him with Ahsoka Tano.[79]

Several writers suggested the fact that the Mandalorian's face is concealed has a tabula rasa effect and his anonymity allows viewers to see and imagine themselves as parents.[65][66] Britt said this "allow(s) us to dream about what arsenal we might deploy to protect our children".[65] However, Singer said the show's setting in space make the challenges of child-rearing seem more exciting and exotic than they might otherwise be.[66] Anthony Breznican of Vanity Fair has noted that none of the day-to-day difficulties of parenthood are portrayed in the series: "There is no shrill squawking from Baby Yoda, no tantrum, no spit-up, no uncontrollable shrieking that burrows into a parent's psyche like a dentist's drill shredding a soft, pink nerve."[80] Likewise, Vulture writer Kathryn VanArendonk said the show ignores or does not address many parenting details that make fatherhood difficult, such as what the Child eats, when he goes to sleep, and whether he wears diapers. She wrote: "The Mandalorian is uninterested in diapers, and so Mando gets to be a very particular image of fatherhood: the guy who doesn't have to sweat the small stuff."[69] VanAnderonk described this as a wish fulfillment fantasy for parents or prospective parents: "a vision of parenting stripped so thoroughly of all detail and specificity that all that's left are archetypes: the parent, the child".[69]

The Child encounters a handful of other protector figures throughout the first season, including Omera, IG-11, and Peli Motto.[69] Some observers have criticized the series for the fact that the Mandalorian repeatedly leaves the Child alone or in the hands of relative strangers,[66] as well as for making decisions that place the Child in danger. One example is in "Chapter 6: The Prisoner", when he allows a team of dangerous mercenaries to use his ship while the Child is on board, nearly resulting in the Child's death.[66][81] An interaction the Mandalorian has with Peli Motto in "Chapter 5: The Gunslinger" is one of the most overt discussions about the challenges of caring for the Child. When the Mandalorian accidentally wakes the child, who had been sleeping in Peli's arms, she chides him: "Do you have any idea how long it took me to get it to sleep?"[69] She also condemns the Mandalorian for leaving the child alone on the ship, saying: "you have an awful lot to learn about raising a young one".[82]ScreenCrush writer Matt Singer argued the Mandalorian's parenting errors makes the show that much more appealing because making mistakes is a large part of being a parent.[66] Eileen Chase of Today echoed this: "He is not an ideal parent, just like the rest of us who have to balance parenting and work."[67]

Good and evil; nature versus nurture[edit]

The nature of good and evil and the question of nature versus nurture is raised repeatedly throughout The Mandalorian, perhaps most overtly through by Kuiil's reprogramming of IG-11 from a bounty hunter to a nurse droid and protector.[83][84] Even after IG-11 is reprogrammed, the Mandalorian does not believe he has truly changed, because he believes droids have an essential nature and that IG-11's nature remains murderous and untrustworthy.[85] But in reprogramming IG-11, Kuiil nurtures him and helps him to change; Kuiil feels that in the process of learning how to function again, IG-11 gained a new personality.[86] Kuiil insists to the Mandalorian: "Droids are not good or bad — they are neutral reflections of those who program them."[84] Keith Phipps of Vulture wrote of IG-11 and the nature versus nurture theme: "He's not bad. He's just programmed that way, and with care and change he can do a lot of good in the world."[83]

The Kuiil and IG-11 scenes also demonstrate that the way in which the "child" character is raised makes a significant difference in whether the child becomes an asset or a threat to those around him. The droid was a dangerous assassin before Kuiil reprogrammed him, but thanks to the Ugnaught's parenting, he becomes a protector and helper instead.[68] Some writers have likewise suggested the Child is not inherently good or evil,[84][87] but that instead, like all children, he is impressionable and does not fully understand the events occurring around him. He is learning about the world around him and needs guidance as he develops his abilities.[81][84][88] It will largely fall to the Mandalorian to provide this guidance,[81] as when the Mandalorian stops him from strangling Cara Dune.[84]

However, multiple writers have questioned whether the violent acts the Child has repeatedly witnessed throughout The Mandalorian are having a negative impact on his development, and that he is learning to become violent himself as a result.[84][89] Phipps wrote of this: "That look of wonder in the Child's eyes as IG-11 kills and kills again is hilarious, but also a little chilling."[83] One particular scene in "Chapter 7: The Reckoning" led many reviewers and fans to question whether the Child may be demonstrating evil tendencies. During a scene on the Mandalorian's spaceship, the Child observes as the Mandalorian and Cara Dune engage in a friendly arm wrestling match. During the contest, the Child uses the Force to choke Cara, nearly strangling her before the Mandalorian intervened.[87][88][89] Throughout the Star Wars franchise, that ability has been most commonly associated with the Dark Side of the Force, particularly Darth Vader.[89][90][91]

Sarah Bea Milner of Screen Rant wrote: "The moment is genuinely shocking — and more than a little disturbing."[84] Some reviewers noted, however, that the Child likely mistakenly believed the Mandalorian was in danger and intervened to help.[91][92] Additionally, in the same episode, the Child uses Force healing to save Greef Karga, a power typically associated with the Light Side.[84][87][92] Nevertheless, some writers have suggested viewers had been underestimating the Child's capacity for evil because he is so adorable.[91][90][93] Fans speculated the Child could be presenting a false personality or using the Force to manipulate people into caring about him to help ensure his survival.[89] However, Caitlin Gallagher of Bustle suggested rather than building toward making the Child evil, the show could be suggesting the Mandalorian needs to find a way to raise the Child in a less violent environment.[89]

Release[edit]

The Mandalorian premiered on the streaming service Disney+ on its United States launch day, November 12, 2019.[35] The second season premiered on October 30, 2020.[38] The third season is expected to be released in 2022.[94]

Reception[edit]

Critical response[edit]

For the first season, the review aggregator website Rotten Tomatoes reported a 93% approval rating with an average rating of 7.96/10 based on 36 reviews. The website's critical consensus reads, "Action-packed and expertly-crafted—if at times a bit too withholding—The Mandalorian is a welcome addition to the Star Wars universe that benefits greatly from the cuteness of its cargo."[95]Metacritic, which uses a weighted average, assigned a score of 70 out of 100 for the season, based on reviews from 29 critics, indicating "generally favorable reviews".[96]

For the second season, Rotten Tomatoes reported a 94% approval rating with an average score of 8.54/10, based on 25 reviews. The site's critical consensus reads: "With fan favorites and fresh faces galore both in front of and behind the camera, The Mandalorian's sophomore season solidifies its place as one of Star Wars's most engaging and exciting sagas."[97] Metacritic assigned a score of 76 out of 100 based on 14 critics, indicating "generally favorable reviews".[98]

Accolades[edit]

Main article: List of accolades received by The Mandalorian

The Mandalorian has been nominated for six Primetime Emmy Awards and thirty-three Primetime Creative Arts Emmy Awards (winning fourteen Creative Arts Emmys),[99] as well as one British Academy Television Award,[100] one Critics' Choice Television Award,[101] one Directors Guild of America Award,[102] one Golden Globe Award,[103] four Hollywood Critics Association TV Awards (winning one),[104] three Hugo Awards,[105] three MTV Movie & TV Awards,[106] one Producers Guild of America Award,[107] two TCA Awards,[108] nineteen Visual Effects Society Awards (winning five),[109] and one Writers Guild of America Award,[110] among others.

Industry impact[edit]

The Mandalorian was the first production to be filmed using real time rendering for realistic, parallax environments.[56] Favreau believed that the StageCraft technology developed for the series would have a significant impact on the production of films and television series moving forward.[57] He attributed the breakthroughs made with the technology to the support of Kathleen Kennedy, who was in charge of both Lucasfilm and ILM, as well as to his own drive for innovation, and to previous work done by George Lucas on new technology for the Star Wars films. Favreau also acknowledged that much of the technology involved in StageCraft is not proprietary and is readily available to others, it just had not been combined in this way before.[56] Favreau invited other filmmakers and studios to visit the series' set and see how the new technology was being used, noting that Lucas and other filmmakers such as James Cameron had done the same when they had been working on innovative film projects. Favreau added that the companies working on the series' new technologies—including ILM, Epic, and MPC—were being encouraged to share their work and develop the technology further beyond the requirements of the series.[3] Several actors working on the series, including Carl Weathers and Giancarlo Esposito, gave high praise to the technology and the way it allowed them to act within the environment rather than pretend in front of green screen.[56] After learning lessons about the technology during production on the first season of The Mandalorian, ILM was able to make several advancements beginning with the second season. This included transitioning StageCraft to a fully in-house product utilizing ILM's own game engine, Helios, rather than Epic's Unreal Engine.[58] In February 2020, ILM announced that it was making its StageCraft technology available to all filmmakers and production studios as a complete end-to-end solution,[57] and that December, it was announced that three additional StageCraft volumes–in Los Angeles, London, and Australia–were being built.[111]

Spin-offs[edit]

In November 2019, Walt Disney Studios CCO Alan Horn said if the series was successful, a film featuring the Mandalorian could be developed.[112] The next month, Favreau said there was an opportunity to explore the series' characters in other Star Wars films or television series.[3] Bob Iger said in February 2020 that spin-offs of The Mandalorian were being considered, and there was potential to add more characters to the series with the intention of then giving them their own series.[113] Favreau said in October that as more characters are introduced in the series, "we are beginning to explore where we could go". He felt Lucasfilm could be "more responsive" to audience reactions in determining potential spin-offs due to the faster production time for television series than films. Favreau looked to his experience working in the Marvel Cinematic Universe, where smaller stories exist within the larger narrative, as a potential guide for spin-offs. Additionally, both Favreau and Pascal were open to the idea of the Mandalorian appearing in a Star Wars film, but Favreau was in "no rush" to do this.[114] In December 2020, the spin-off series Rangers of the New Republic, Ahsoka, and The Book of Boba Fett were announced,[115][116][117] with all three series developed by Favreau and Filoni, set within The Mandalorian's timeline, and planned to culminate in a "climactic story event".[118]Rangers of the New Republic was not in active development by May 2021.[119]

The Book of Boba Fett[edit]

Main article: The Book of Boba Fett

A spin-off miniseries focused on Boba Fett was reported in November 2020.[120] It was officially announced as The Book of Boba Fett a month later, and was already in production by that point. Favreau, Filoni, and Robert Rodriguez executive produce, with Morrison and Wen reprising their respective roles as Fett and Fennec Shand. The series will debut in December 2021.[117]

Ahsoka[edit]

A limited series titled Ahsoka, featuring Dawson reprising her role as Ahsoka Tano, was revealed in December 2020 with Filoni writing and executive producing alongside Favreau.[116]

Other media[edit]

Documentary series[edit]

A documentary series, Disney Gallery: The Mandalorian, features interviews with the cast and crew of The Mandalorian, behind-the-scenes footage, and roundtable conversations hosted by Favreau that explore the production of the series. The first season premiered on Disney+ on May 4, 2020, Star Wars Day.[121] An hour-long special covering the second season was released on December 25, 2020,[122] with a second special episode covering the season two finale released on August 25, 2021.[123]

Publishing[edit]

Lucasfilm announced a publishing campaign of tie-in books and comics for the series in June 2020. The campaign was announced to include The Art of The Mandalorian (Season One) by Phil Szostak, an original adult novel written by Adam Christopher and published by Del Rey Books, a visual guide written by Pablo Hidalgo and published by DK, a junior novelization of the first season written by Joe Schreiber, and comic books inspired by the series to be published by Marvel Comics and IDW.[124] One month later, the novel by Adam Christopher was delayed from December 2020 to November 2021, before both it and the visual guide by Pablo Hidalgo were cancelled in March 2021.[125][126]

Video games[edit]

In November 2020, Minecraft released a Star Wars-themed downloadable content, which included locations and characters from The Mandalorian.[127] Din Djarin and Grogu appear as unlockable cosmetics in Zero Point, Fortnite Battle Royale's Chapter 2 event. Djarin's sniper rifle and jetpack were also available as playable items.[128]

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Sours: https://en.wikipedia.org/wiki/The_Mandalorian
The Mandalorian 1x1 PREMIERE REACTION!! \

Ranking the Episodes of Season 1 of ‘The Mandalorian’

Yesterday, we presented our Spoiler-Heavy review on Season 1 of The Mandalorianin honor of Season 2’s impending debut tomorrow on Disney+, and as we noted at the very end of that post, it was only meant to be the first half of this extensive retrospective on the Star Wars franchise’s first live-action TV series. Yes, today on The DisInsider, we’ll be ranking each of the 8 episodes that make up Season 1.  Now, to be clear, this is not one of those lists that’s meant to be a case of the subjects in question being ranked from ‘worst to best’ because, to be perfectly frank, none of these eight episodes are ‘bad’. Thanks to the exceptional work from series creator Jon Favreau’s crew of directors, every episode is outstanding and instantly memorable in its own unique way.

QUICK DISCLAIMER: Also, just like yesterday’s review, today’s list will be full of spoilers. As such, we recommend watching the entire season first before delving into this post.

8. CHAPTER 2: THE CHILD

We start this list off with Chapter 2, ‘The Child’, which was the first of two episodes directed by Rick Famuyiwa, fresh off 2015’s critically-acclaimed coming-of-age drama Dope. Precisely continuing from the pilot episode’s unforgettable cliffhanger, this episode sees the Mandalorian begin the journey back to Nevarro with The Child in tow. He does begin to run into some trouble, however, when he fights off a bunch of rival bounty hunters who are also after The Child. And if that wasn’t enough, he then discovers that his ship, the Razor Crest, has been thoroughly scavenged by Jawas, thus forcing him to try and negotiate with them (with the help of Kuiil) so that he can get it back in working order. As I noted earlier, this episode’s placement at the bottom of the list doesn’t mean that it’s a ‘bad’ episode. Sure, it may be a rather short one at just half an hour long, but it’s chock-full of great action sequences such as the Mandalorian’s first attempt at pursuing the Jawas, which promptly ends with him getting hit with a whole bunch of electric shocks that knock him right off the top of their Sandcrawler. There’s also a lot of great humorous moments, like when the Mandalorian gets so frustrated with the Jawas during their negotiation that he nearly sets some of them on fire with his flamethrower. Eventually, though, he and Kuiil manage to strike up a deal with them that results in him having to collect the egg of a vicious horned creature known as a Mudhorn. And while the Mudhorn does proceed to give him quite a bit of trouble, he ends up being aided by The Child, who manages to subdue it with the Force. Thus, the Mandalorian acquires the egg and gives it to the Jawas, who promptly devour its contents, and he and Kuiil manage to fix his ship, with the latter rejecting his offer to tag along as his new crew member. All in all, this is a really fun episode that, like the pilot, does a great job of slowly but surely revealing more of the overall story which, in this instance, namely stems from the reveal that The Child is one with the Force. Really, the only reason why it’s at the bottom of this list is because it simply ends up being outdone by the other 7 episodes.

7. CHAPTER 7: THE RECKONING

I realize that placing this episode at, fittingly enough, the number 7 spot on this list may be a bit controversial given the fact that it was one of two episodes this season that received a perfect 100% rating on Rotten Tomatoes. But just like Chapter 2, this ultimately comes down to overall preference rather than me having anything bad to say about it. The episode begins with the Mandalorian being contacted by Greef Karga, who requests his help in taking down the Client and his Imperial forces on Nevarro in exchange for Greef clearing up their current predicament with the Bounty Hunters’ Guild. He then proceeds to recruit both Cara Dune and Kuiil to aid in the mission but is surprised to learn that the latter has rebuilt IG-11 after he’d destroyed it in Episode 1 and has reprogrammed it so that it can now serve as The Child’s protector. Naturally, he ends up taking issue with this, not only because IG-11 was originally intent on killing The Child but because he’s also been established as having a severe distrust of droids, which is ultimately expanded upon in the finale. It also ties in to a recurring plot-point in this episode where the group is repeatedly riddled with personal conflicts, such as The Child force-choking Cara due to a misunderstanding and Kuiil revealing that he used to work for the Empire (albeit as an indentured servant), which doesn’t fly well with Cara given her history with the Rebels. Despite running the occasional risk of over-complicating these proceedings, these moments serve as some excellent bits of character development for the Mandalorian and his crew, especially since many of them are given highly effective pay-offs by the end of the season.

Anyway, the group eventually makes their way back to Nevarro, where they meet up with Greef and his crew and are informed that they’ll have to travel to the town on foot since it’s been completely overtaken by the Client’s troops. At one point, the group is attacked by a group of winged creatures and while Greef sustains some serious injuries from this encounter, The Child ends up healing him with the Force (On a side note, remember when Rey did the exact same thing in Rise of Skywalker and yet a lot of people gave her crap for it?). Because of this, Greef ultimately decides to go against his group’s ‘true’ plan of killing the Mandalorian by killing his associates instead and promising to legitimately help the Mandalorian and his crew protect The Child. However, instead of just ending with a traditional finale where the Mandalorian and crew successfully take down the Client by fooling him into thinking that they’ve brought The Child to him, the episode ends up taking a much different route. During the meeting between the two parties, the Client receives a call from one of his associates… before he and his men are promptly annihilated by a barrage of gunfire. The Mandalorian, Cara, and Greef barely manage to survive this onslaught before finding themselves cornered by the Client’s associate, Moff Gideon, and his army of stormtroopers. Gideon proclaims that he’ll soon have The Child in his possession as we see a pair of scout troopers pursuing Kuiil as he brings The Child back to the Razor Crest. The episode ends on a tragic note as the Troopers kill Kuiil and grab The Child. And so, while this may not be my personal favorite episode from this season, its incredibly intense climax is an undisputed highlight as it perfectly sets the stage for an epic finale.

6. CHAPTER 1: THE MANDALORIAN

While the first episode of a new series usually ends up being overshadowed by the episodes that follow, that doesn’t mean that they can’t be just as great by comparison, and that certainly applies to The Mandalorian’s pilot episode, which served as Star Wars mainstay Dave Filoni’s live-action directorial debut. Thanks to this episode, we get an excellent introduction to the title character and the section of the Star Wars galaxy that he inhabits right from the opening sequence where he nabs an overly talkative bounty. This, of course, then paves the way for our first glimpses at the season’s main plot as the Mandalorian accepts a high-paying commission that’s being offered by a mysterious Client with former ties to the Empire. It’s the episode where we first meet the good-natured Kuiil, who helps the Mandalorian prepare for his journey by helping him learn how to ride a mountable creature known as a Blurrg. Ultimately, though, the biggest highlight of this episode is its action-packed climax in which the Mandalorian reaches his target’s location and proceeds to take on a whole bunch of goons with the help of droid bounty hunter IG-11. As he’s basically known to do nowadays, Taika Waititi is an utterly delightful standout as the no-nonsense assassin droid and the comedic rapport between IG-11 and the Mandalorian is fantastic, especially whenever the latter has to keep the former from initiating his self-destruct function. This, of course, then brings us to the episode’s instantly iconic finale as the two bounty hunters find their target and discover that it’s a young alien child. And while IG-11 intends on killing it, the Mandalorian proceeds to subdue his new associate since he intends on bringing The Child back alive. Thus, thanks to Dave Filoni’s excellent direction and the sharp script from Jon Favreau, this first episode is a brilliant kick-starter for this great new series.

5. CHAPTER 6: THE PRISONER

Rick Famuyiwa’s second episode of the season begins with the Mandalorian reuniting with one of his old colleagues, Ranzar ‘Ran’ Malk (Mark Boone Junior), who requests his help in teaming up with a bunch of his mercenaries to rescue one of their own from a New Republic prison ship. And while this is the only episode in which Ran’s crew of mercenaries appears, they instantly manage to be a solidly memorable gang of criminals. This includes Bill Burr’s ex-Imperial sharpshooter Mayfeld (“I wasn’t a stormtrooper, wise-ass!”), Natalia Tena’s Xi’an, a fiery Twi’lek who’s implied to be one of the Mandalorian’s old flames, Clancy Brown’s Burg, the group’s Devaronian muscle, and a protocol droid named Q9-O voiced by Richard Ayoade. Overall, this episode delivers a delightfully exciting heist plot as the crew infiltrates the ship, fights off its collection of guard droids, and rescues Xi’an’s brother Qin (Ismael Cruz Cordova), who’s shown to have a complicated history with the Mandalorian. Sure enough, the Mandalorian then finds himself double-crossed by Mayfeld and his crew but is eventually able to get back at them by subduing Mayfeld, Xi’an, and Burg and sticking them in one of the ship’s cells. And as for Q9-O, he gets destroyed when he attempts to kidnap The Child after learning about the Mandalorian’s current situation. The only one that he ‘spares’ is Qin, who is then brought back to Ran’s space station, and while Ran immediately sends a gunship after his old associate, he is instead met with a trio of X-Wing pilots who were ‘guided’ there by the Mandalorian thanks to a distress signal that he got from the prison ship and promptly attack his base of operations. Now admittedly, this is one of those episodes that, as I mentioned earlier, is more of a ‘filler’ type episode since it deviates quite a bit from the main plot. And unlike the other episode from this season that could also be described as a ‘filler’ episode, this one doesn’t open in a way that, at the very least, still feels somewhat connected to everything and there aren’t many allusions to what’s mainly going on apart from when the mercenaries discover The Child. Still, for what it’s worth, this is a highly entertaining episode that still managed to do quite a lot with its ‘B-plot’.  

(It’s also worth noting that this episode features a bunch of fun cameos from various veterans of the Star Wars universe. The lone human guard that the crew comes across while on the prison ship, Davan, is played by Matt Lanter who, of course, is best known for voicing Anakin Skywalker in The Clone Wars. And as for the three X-Wing pilots who attack Ran’s station, they’re played by series directors Dave Filoni, Rick Famuyiwa, and Deborah Chow.)

4. CHAPTER 3: THE SIN

Chapter 3 proved to be quite notable upon its debut as it was the first piece of live-action Star Wars material to be directed by a woman. In this case, the honor goes to Deborah Chow, who’s directed episodes for various shows over the years such as Mr. Robot and Jessica Jones and is set to headline the production of another upcoming Star Wars series centered on Obi-Wan Kenobi. And sure enough, as far as her role in the future of this franchise is concerned, she immediately makes one hell of an outstanding first impression thanks to this action-packed episode that also does a great job of officially setting some of the series’ biggest character beats into motion. While it opens with the Mandalorian finally returning to Nevarro and delivering The Child to his client, it ends with him openly defying the Bounty Hunter Code to rescue The Child out of concern for its safety. This then results in one of the best action sequences of the entire season as he infiltrates the client’s facility and takes out a whole bunch of his stormtroopers, including one that he thoroughly torches with his flamethrower. But the action doesn’t stop there as he soon finds himself cornered by Greef Karga and all the other bounty hunters in the area who now have a new target… him. And yet, at a point where it seems as if he’s fully outnumbered, he ends up being saved by his fellow Mandalorian warriors, which is a nice bit of payoff to an earlier scene where he was criticized by some of them for working with Imperials since their Tribe’s past conflict with the Empire, the Great Purge, was what forced them to go into hiding. Nevertheless, that doesn’t stop them from helping one of their own even if, as the Mandalorian points out, they’ll have to relocate now that they’ve made themselves known. This is, after all, the episode that properly establishes the Mandalorian tribe’s principles as best represented by what has easily become this show’s definitive quote, “This is the Way”. And with that, Chapter 3 is another standout piece of this great season thanks in large part to Deborah Chow’s fantastic direction.

3. CHAPTER 5: THE GUNSLINGER

Of these eight episodes, Chapter 5 has the lowest critical score of the bunch on Rotten Tomatoes with a 74% rating. While not panned, per se, the episode did catch quite a bit of flak from critics due to the one thing that has become the internet’s favorite topic when it comes to judging Star Wars, its use of nostalgia. But as I’ve said before, that sort of thing doesn’t affect my views on this franchise in the slightest, and because of that, I’d argue that this was a damn good episode regardless of how much it harkened back to the franchise’s past adventures. For one thing, it starts off on a fantastic note as the Mandalorian fends off a rival bounty hunter complete with a badass quip when the latter has the guts to use his “I can bring you in warm… or I can bring you in cold” line that he had used back in the first episode (“That’s my line!”). However, due to the damages that the Razor Crest sustained during the battle, the Mandalorian is forced to make a pit stop on Star Wars’ original sand planet, Tatooine, in that notoriously “wretched hive of scum and villainy”, Mos Eisley Spaceport. It is there that the Mandalorian meets a wannabe bounty hunter named Toro Calican (Jake Cannavale) who asks for his help in capturing mercenary Fennec Shand (Ming-Na Wen), who’s worked with practically every crime syndicate in the galaxy, so that he can officially join the Bounty Hunters’ Guild. The dynamic that forms between these two is easily one of the best parts of this whole episode as it’s largely defined by the great contrast between the battle-hardened and fully experienced Mandalorian and the rookie Toro, who’s clearly shown to be in over his head when it comes to this line of work.

As for the episode itself, we get a highly entertaining chase storyline as the two bounty hunters go after Fennec. They encounter some Tusken Raiders along the way (complete with a great humorous bit where Toro bad-mouths them before it’s revealed that a pair of them are standing right behind them) and unlike Anakin Skywalker in Revenge of the Sith, the Mandalorian recognizes exactly what they’re up against when it’s clear that Fennec… has the high ground. Sure, the finale of this episode is a rather predictable one as Fennec convinces Toro to turn on the Mandalorian by revealing his situation with The Child, which results in the Mandalorian promptly taking him out instead, but that doesn’t stop this from being a fun little subplot that nicely complements the main plot. Like Chapter 6, this could very well be described as a ‘filler’ episode but that doesn’t mean that it’s any lesser when compared to the other episodes just because it doesn’t focus too much on the Mandalorian and The Child’s predicament. Case in point, the whole opening sequence with the rival bounty hunter is what gives this episode the edge over Chapter 6 since it starts the episode off in a way that properly sets up its main conflict while still continuing to stress the fact that the Mandalorian is a wanted man. The other noteworthy aspect of this episode is Ming-Na Wen, who’s fantastic in the role of Fennec Shand, especially thanks to how she’s effectively established as a considerable foe for both the Mandalorian and Toro. Plus, while her role in this episode ultimately ends with her getting shot by Toro (who, at the very least, recognized the possibility of her betraying him), the episode ends with a mysterious figure approaching her body, implying that she may not be dead just yet. And so, with all this in mind, I’d argue that Chapter 5 is the most underrated episode of this season. I’m not denying that a lot of it is driven by that classic Star Wars nostalgia, but just like The Force Awakens and The Rise of Skywalker, I don’t really see why that’s such a bad thing.

2. CHAPTER 4: SANCTUARY

Jon Favreau has noted that Chapter 4 was the most challenging episode of the season due to its large-scale action sequences and forest setting… which is why he intentionally gave it to the most untested director of the bunch, Bryce Dallas Howard (who, to be fair, has directed a few short films and the 2019 documentary Dads). Ultimately, though, Howard delivers a true gem of an episode that is not only a great action-packed affair but one that also delivers on some strong emotional poignancy. The episode begins with the Mandalorian and The Child, now firmly on the run from the Bounty Hunters’ Guild, landing on the forest planet Sorgan. It is here where we are first introduced to Cara Dune who, despite seeming hostile at first to the point where she and the Mandalorian get into a brief brawl, ends up becoming a friendly acquaintance. The bulk of the episode’s plot, however, revolves around the two of them being approached by members of a nearby village who ask for their help in fending off a band of Klatooinian raiders. And if that wasn’t enough, the Mandalorian and Cara then discover that the raiders also happen to possess an Imperial AT-ST. Thus, in a nod to classic films such as Seven Samurai and The Magnificent Seven, the two proceed to train the villagers so that they can fight back, resulting in a great nighttime battle where the group is able to take down the powerful walker. Ultimately, though, the biggest moment of this episode occurs right at the end when the Mandalorian reveals that he plans on leaving The Child at the village so that he can be safe. One of the villagers, widower Omera (Julia Jones), suggests that he stays as well to the point where she nearly becomes the first person to take off his helmet since he was a child before he ultimately stops her. Sadly, this chance at a peaceful life is tragically shattered when another bounty hunter arrives on the scene, and while he’s quickly taken down by Cara, the Mandalorian quickly realizes that he and The Child are still very much in danger. And so, the episode ends with the two of them bidding a somber farewell to the villagers as they head back to their ship. With a devastating yet powerful ending like that, it’s easy to see why Chapter 4 has been touted as one of the season’s best.

1. CHAPTER 8: REDEMPTION

While Chapter 4 certainly gives it some competition, the best episode of this season ends up being Chapter 8, which was brought to us by everyone’s favorite comedic genius from New Zealand, Taika Waititi. Sure enough, the episode starts off in true Waititi fashion with a great comedic bit where the two Scout Troopers who grabbed The Child (played by Adam Pally and Jason Sudeikis) impatiently wait outside the town to bring it to Moff Gideon. One of them continuously tries to get a peek at The Child and they both shoot at a nearby transmitter with the exact kind of piss-poor accuracy that stormtroopers are notoriously known to have. And sure, there are a few points where the troopers mistreat The Child (to the point where one of them straight-up punches him after he gets bitten), but the little one is thankfully saved by IG-11. IG-11 then proceeds to help the Mandalorian, Cara, and Greef by riding into town on one of the scout troopers’ speeder bikes and taking out a whole bunch of Gideon’s stormtroopers. That said, though, there’s a lot more to the ensuing battle between the two sides than just that. For starters, even though he was only introduced at the end of the previous episode, Gideon immediately proves to be one hell of an imposing villain by subtly revealing that he knows all about our heroes. He knows that Cara was originally from Alderaan, that Greef is a disgraced magistrate, and that the Mandalorian’s real name is Din Djarin. And while the gang manages to put up quite a fight against Gideon’s forces (complete with The Child using the Force to fight off a flamethrower-wielding stormtrooper), the Mandalorian ends up suffering a devastating head injury. But while he initially tells the others to go on without him, he’s ultimately healed by IG-11, who becomes the first being to take off his helmet. And while the Mandalorian promptly reminds IG-11 of the Mandalorian creed that says that no one is to ever see his face, IG-11 reasons that he can be the exception given that he’s not human. It’s also worth noting that, after a few glimpses of it in previous episodes, we finally witness Din Djarin’s backstory where it’s revealed that he was the sole survivor of a Separatist droid attack that killed his parents before being rescued by the Mandalorians, who adopted him into their tribe as a Mandalorian foundling.

The group then proceeds to head to the Mandalorian tribe’s hidden covert but is stunned to find it almost completely abandoned save for the Armorer. After being shown The Child for the first time, the Armorer informs the Mandalorian that he’s to return it to its own kind, and given its powers, she suggests that The Child hails from an ancient enemy of the Mandalorians… the Jedi. Until then, The Child is a Mandalorian foundling and the Mandalorian is his protector as the Armorer officially appoints him his signet (modeled after the Mudhorn that they fought in Chapter 2) that designates them as a ‘Clan of Two’. He’s also given an official Mandalorian jetpack, which is a nice callback to a key moment from the end of Chapter 3 (“I’ve got to get one of those…”). But once again, the action doesn’t stop there. In their efforts to escape, the group finds themselves facing down a whole bunch of stormtroopers at the end of their escape route in the sewers. This then results in a solidly effective emotional moment in which IG-11 nobly sacrifices himself by finally initiating his self-destruct function to take them all out. And while the group is then attacked by Gideon in his TIE fighter, the Mandalorian uses his newly acquired jetpack to great effect and successfully manages to crash Gideon’s ship. With no immediate threat on the horizon, the Mandalorian officially heads off to find whoever The Child truly belongs to (though not before giving Kuiil a proper burial) while Cara decides to stay on Nevarro and serve as Greef’s enforcer. But then, if that wasn’t enough, the episode ends with Gideon breaking out of his crashed TIE Fighter with the help of a key weapon from Star Wars’ past, the Darksaber. This distinctive black lightsaber first appeared in Star Wars: The Clone Wars and, over the course of both that show and Star Wars: Rebels, has been in the possession of several major characters such as Darth Maul. And while I’ll openly admit that I’m not exactly up to date on all of Dave Filoni’s Star Wars shows, I can still see why this big reveal must’ve been a huge deal for fans of the franchise. With all that in mind, it should go without saying that Chapter 8 is a kick-ass season finale. Admittedly, it does cover quite a lot of ground in just 46 minutes, but thanks to Waititi’s excellent direction, none of it ever feels rushed. Instead, it’s just a high-octane thrill ride of an episode that ends this outstanding first season on an equally outstanding note.

And that concludes today’s list ranking all 8 episodes of Season 1 of The Mandalorian. Thanks for following along and be sure to sound off in the comments below with your own personal ranked list of this fine batch of episodes. As always, be sure to follow us on Twitter @TheDisInsider and whatever social media network you may roam for all your Disney news.

Season 2 of The Mandalorian starts tomorrow on Disney+.

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Sours: https://thedisinsider.com/2020/10/29/ranking-the-episodes-of-season-1-of-the-mandalorian/

Episodes season 1 in mandalorian

The Mandalorian (season 1)

Season of streaming series

Season of television series

The Mandalorian
The Mandalorian season 1 poster.jpg

Promotional poster

StarringPedro Pascal
Country of originUnited States
No. of episodes8
Original networkDisney+
Original releaseNovember 12 (2019-11-12) –
December 27, 2019 (2019-12-27)

Next →
Season 2

List of episodes

The first season of the American television series The Mandalorian stars Pedro Pascal as the title character, a lone bounty hunter hired to retrieve "The Child". It is part of the Star Wars franchise, set five years after the events of Return of the Jedi (1983). The season was produced by Lucasfilm, Fairview Entertainment, and Golem Creations, with Jon Favreau serving as showrunner.

Work on a new live-action Star Wars television series was announced in November 2017. Favreau signed on in March 2018, with Pascal cast a month after filming began in October 2018 at Manhattan Beach Studios in California. Visual effects company Industrial Light & Magic developed the StageCraft technology for the series, using virtual sets and a 360-degree video wall to create the series' environments. In addition to this new technology, practical effects were emphasized for the series.

The eight-episode season premiered on the streaming service Disney+ on November 12, 2019, and ran until December 27. It was met with positive reviews, was nominated for Outstanding Drama Series at the 72nd Primetime Emmy Awards, and won seven Primetime Creative Arts Emmy Awards. A second season was confirmed in July 2019.[1]

Episodes[edit]

Cast and characters[edit]

Main article: List of The Mandalorian characters

Production[edit]

Development[edit]

In November 2017, Disney CEO Bob Iger announced that Disney and Lucasfilm were developing a live-action Star Wars television series for the new streaming service Disney+.[15]Jon Favreau pitched an idea for the series to Lucasfilm president Kathleen Kennedy, who suggested he discuss the idea with Dave Filoni, executive producer on the animated series Star Wars: The Clone Wars and Star Wars Rebels.[16] In March 2018, Lucasfilm announced that Favreau would write and executive produce the series,[17] with Filoni, Kennedy, and Colin Wilson also executive producing.[18] In May, Favreau said he had written four of the series' eight episodes before being officially hired for the project.[19]

Favreau announced that the series was titled The Mandalorian on October 3, and revealed the premise of the show.[20] Directors for the season were revealed the next day, including Filoni, Taika Waititi, Bryce Dallas Howard, Rick Famuyiwa, and Deborah Chow.[18] Favreau was unable to direct any of the first season due to his commitments to The Lion King (2019),[21] and wanted the series' directors to be a diverse group of filmmakers who could bring different perspectives to the series. The only prerequisite he had for the directors was that they love Star Wars. According to Famuyiwa, Favreau described the group as a "Dirty Dozen, Magnificent Seven type of crew".[22] The season had a budget of $100 million.[23]

Casting[edit]

After being rumored to be cast in the title role, Pedro Pascal was confirmed to be portraying the Mandalorian in November 2018.[5] Pascal initially thought he was being cast as the Star Wars character Boba Fett due to the visual similarities between that character and the Mandalorian,[24] but the latter is actually a separate character named Din Djarin.[6]Gina Carano and Nick Nolte joined the series' cast later in November.[25][11] Lucasfilm announced the next month that Pascal would star alongside Carano, Nolte, Giancarlo Esposito, Emily Swallow, Carl Weathers, Omid Abtahi, and Werner Herzog.[26] Favreau revealed in March 2019 that Taika Waititi would provide the voice for a bounty hunter droid in the series, believed to be the character IG-88.[27] This was revealed a month later to be a new character, IG-11, when character details for other cast members were announced.[8] Weathers' character, Greef Karga, was originally an alien that was killed off in the third episode; the prosthetic make-up was removed and the role extended during production.[28]

The footage shown at Star Wars Celebration in April 2019 revealed that Bill Burr and Mark Boone Junior had been cast in the season, with Burr portraying an outlaw.[29] At the D23 Expo in August, it was revealed Ming-Na Wen would appear,[30] and the next month, Julia Jones's casting was announced.[31]

Filming and effects[edit]

New technology[edit]

Further information: The Mandalorian § New technology

Visual effects studio Industrial Light & Magic, a subsidiary of Lucasfilm, partnered with video game developer Epic Games to create a new system for the series named StageCraft, based on Epic's game engine Unreal Engine. StageCraft consists of large LED video screens on which digital environments can be rendered in real time for actors to perform in front of.[32][7] During pre-production on the series, virtual photography was used to plan the series' filming and determine what environments would be needed on set. The digital environments were then created by ILM and added to StageCraft ready for live action photography with the actors. Some of these environments were based on location photography in countries such as Iceland and Chile.[7] During filming, the digital environments were rendered on a video wall in real time, allowing the filmmakers and actors to see the environments.[32] The images rendered on the video wall were often of a high enough quality to be used as final effects.[32]

Principal photography[edit]

Filming began during the first week of October 2018, with Filoni directing the first episode.[18] The season was filmed at Manhattan Beach Studios in California under the working titleProject Huckleberry,[7][33] with limited location filming in the Los Angeles area.[7] This first and third episodes were filmed together as one block, with Filoni and Chow working on their episodes at the same time.[34] George Lucas visited the series' set as a birthday surprise for Favreau on October 19.[35] Several items described as "nothing of substance" were stolen from the series' set on October 25.[36]

Filoni made his live-action directorial debut with the series.[21] He saw The Mandalorian as a chance to apply lessons he had learned from Lucas about live-action filmmaking during the making of the Star Wars animated series, and also described Favreau as a mentor who was furthering Filoni's education and could help him overcome challenges specific to live-action.[37] Filoni also served as a second unit director for the other filmmakers, filming quick pick-up shots for them as needed while they were busy on other scenes.[38] Favreau noted that the fourth episode of the series, "Sanctuary", was the most difficult to make due to its forest setting and action requirements, and joked that this was the reason that Howard, the most inexperienced of the first season's directors, was given that episode to direct.[22] Howard felt protected by the experience of Favreau and Filoni, feeling comfortable to go to them with any questions about filmmaking and Star Wars, respectively.[39] Howard also felt she had creative freedom when directing the episode, something that surprised her father Ron Howard who directed the film Solo: A Star Wars Story (2018).[40]

Pascal's commitments to filming Wonder Woman 1984 (2020) and performing in a Broadway production of King Lear resulted in stunt doubles Brendan Wayne and Lateef Crowder portraying the Mandalorian on set in Pascal's absence, with Pascal later dubbing the lines.[41][42] Pascal said he felt uneasy about this when there were "more than just a couple of pages of a one-on-one scene [and not] being able to totally author" the performance. But he said it was "so easy in such a sort of practical and unexciting way for it to be up to" Wayne and Crowder.[42] Wayne worked with Pascal to develop the movements of the character.[41] Filming for the first season wrapped on February 27, 2019.[43]

Practical effects[edit]

Favreau and the series' directors put emphasis on using practical effects where possible, with Famuyiwa explaining that it was the combination of groundbreaking effects and a grounded world and characters that first drew him to Star Wars as a child.[44] Favreau noted that the StageCraft technology used during filming allowed the filmmakers to use more traditional production techniques since they were working within an environment that they could see on set.[38]Legacy Effects created practical armor for the series,[45] as well as the animatronics for the alien creatures. Visual effects were used to remove puppeteers and control rods from scenes that used puppets.[46] One of the modelmakers creating models and puppets for the series was Tony McVey, who worked on the original Star Wars films. In order to recreate techniques used on the original Star Wars films, The Mandalorian's prop master, Josh Roth, designed new weapons for the series based on real guns, as the original props had been modified versions of World War II gun props.[44]

"The Child" was created primarily with an animatronic puppet, which was augmented with visual effects.[7] The production had originally expected to mostly use CGI for the character.[46] Different puppeteers controlled its body and head movements, its eyes, and its ears. Other puppeteers moved it for walking scenes.[44] During filming on the third episode, Chow and the visual effects team removed the puppet so they could film a version of a scene without it. This was in case they decided that the puppet was not convincing enough and would need to be replaced with CGI. Herzog called them cowards for not trusting the puppet, and encouraged them not to avoid visual effects.[9][44] He proved to be right, as the production discovered that the puppet worked better than expected and began retooling scenes to work around its limitations rather than resort to CGI.[46][44]

Favreau wanted the series to feature "D-list" characters from the Star Wars films, which led to him creating the Ugnaught character Kuill. The species was first introduced in the background of The Empire Strikes Back (1980). Legacy's effects supervisor John Rosengrant explained that a performer could not emote through the heavy prosthetics required to portray an Ugnaught, so animatronics were added to the prosthetic head. Actress Misty Rosas wore the head and costume for the character while one puppeteer controlled the mouth movements and another controlled the eyebrows. The character's lines were recorded ahead of filming, with actor Nick Nolte providing two or three different readings for each line that could be played for the other actors. While performing, Rosas had to use physical signals to indicate to the puppeteers when she wanted the character speak.[44]

The series includes Blurrgs, alien creatures that were first introduced in the non-canon film Ewoks: The Battle for Endor (1985). Filoni introduced them into canon with The Clone Wars and Rebels.[47] They were primarily created with CGI,[46] but the first time they are seen in the series, through the Mandalorian's binoculars, physical models were used. These were created by McVey and stop motion animated by Stoopid Buddy Stoodios. The stop motion movement informed the animation of the CGI Blurrgs.[44] Legacy created a practical model of the droid assassin IG-11 as an on-set stand-in for lighting reference. It included the head, torso, and arms of the character, and basic puppeteering could be used to move the head. During filming, the awkward movement of the model was deemed to be a good fit for the character and it was used in more scenes than expected. The CGI version was moved in ways that would not be physically possible for a human performer, taking advantage of the character's inhuman appearance. This differed from K-2SO, a droid that animation director Hal Hickel had created for the film Rogue One: A Star Wars Story (2016), which was based on a motion capture performance.[44]

For Rogue One, Hickel had collected various shots from the original Star Wars films of starships that had been created with physical models and motion control camera systems. He brought this collection to The Mandalorian as a style guide for how the Razor Crest should look and move. Favreau decided that he wanted a miniature model of the Razor Crest for lighting reference;[44] the models for the series were created with a combination of 3D printing and hand sculpting.[46] After seeing the model, Favreau suggested that a single shot be filmed using motion control techniques as further reference for the CGI. The series had not budgeted for this technique, which is more expensive than using CGI. ILM visual effects supervisor John Knoll built a new motion control rig for the series to use that he described as "garage operation style, quick and dirty".[44][46] They went on to film 14 or 15 shots for the first season using the technique, and the remaining CGI shots of the Razor Crest in space were designed to emulate the model and motion control style.[44]

Other visual effects[edit]

Shots of the child where visual effects were used instead of the puppet include some scenes where the character is walking, and a scene where he eats a frog.[46] For these, the visual effects team studied the inner workings of the puppet to ensure that their version matched its physical limitations.[7][46]

Image Engine also created visual effects for the series, particularly in "Chapter 3: The Sin" and "Chapter 6: The Prisoner".[48]

Music[edit]

Composer Ludwig Göransson first met with Favreau in November 2018,[49] when Favreau showed Göransson concept art for the series and discussed his inspirations for the story and tone, including Western and samurai films.[50] After they began discussing the series, Favreau sent the all of the season's scripts to Göransson.[50] The composer worked on his own for a month, spending 10 hours a day in his studio "going from instrument to instrument" and experimenting with different sounds.[49] He wrote five or six different pieces of music during this time as potential themes for the series. One of the first instruments Göransson experimented with was the recorder. He found a bass recorder that he felt sounded unique, and digitally manipulated it to make it more "futuristic". That became the beginning of the series' main theme.[50] Favreau and Filoni both approved of Göransson's initial concepts, especially his use of the recorder which Göransson described as "a very original, distinct, lonely sound that follows this gunslinger on his journey."[49]

Favreau wanted the music to come from the perspective of the Mandalorian, serving as a replacement for the character's facial expressions since he is always wearing a helmet.[50] The Mandalorian's theme that Göransson initially wrote for Favreau is used during the end credits,[52] with Göransson writing different end credits cues for some of the episodes. The style of the series' end credits was designed around the score due to Favreau's love of Göransson's music.[53] Göransson also wrote themes for supporting characters such as Greef Karga and Cara Dune,[49] a theme for the Razor Crest, one for all the Mandalorians, and a travelling theme.[52] When he first approached "The Child", Göransson wrote music closer to John Williams' work for the Star Wars films since he felt the character was the element of the series that was closest to the films. He also felt it was natural for the character's music to be "cute". However, Favreau did not want this to be the direction for the character since the Mandalorian does not consider the child to be cute.[50] Elements of Göransson's original music for the child are introduced later on as the Mandalorian sees the child begin to use the Force. Göransson wanted to differentiate the sound of each episode, but also considered his score for the first season to be like a score for a single film with the main themes appearing in each episode and developing across the whole season.[54]

When Göransson began composing the music for specific scenes, he recorded himself playing the main instruments and then augmented those recordings with synthesizers and other digital manipulation. This was then combined with recordings of a 70-piece orchestra. The orchestra was recorded in Los Angeles from April to September 2019, and featured many musicians who were recording Williams' score for Star Wars: The Rise of Skywalker (2019) at the same time.[49] Göransson oversaw the recording of the score with his wife, musician Serena McKinney.[53] He wrote four hours of music for the first season. This was the most music he had written for a single project at that time, and he worked on the season longer than any other project at that point.[49] A soundtrack album was released digitally alongside the debut of each episode featuring music from that episode.[49]

Marketing[edit]

On October 4, 2018, the first promotional image from the series was released, featuring a Mandalorian with a rifle.[18] About a week later, Favreau released a photo through his official Instagram account featuring a rifle with a two-pronged barrel, an apparent callback to Boba Fett's weapon in The Star Wars Holiday Special.[55][56]Jon Favreau, Dave Filoni, and the main cast hosted a panel for The Mandalorian at Star Wars Celebration Chicago on April 14, 2019, where the first footage premiered to fans in attendance.[57] The first official poster and trailer were released at the D23 Expo on August 23, 2019.[58][59] A second and final trailer was released on October 28, 2019.[60] On November 11, a sneak peek was released during Monday Night Football.[61]

"The Child" merchandise[edit]

Favreau chose not to reveal "The Child" in any marketing for the series after a discussion with Donald Glover during the making of The Lion King in which Glover noted that audiences appreciate being surprised since it does not happen very much (Glover gave the surprise release of a Beyoncé album as an example).[16] Favreau stated that Disney was on board with this decision,[7] even though it meant they were unable to begin work on merchandise featuring the character before he was revealed in the series premiere in November 2019. This was due to the potential for those merchandise plans to leak and reveal the character early, and meant that merchandise of the character could not be ready for the Christmas and holiday season.[16] After the series premiered, "The Child" became a breakout character with more attention on social media and in news stories about it (1,161) than any of the Democrats running for president at the time.[7] By the end of November 2019 there was huge demand for merchandise featuring the character. Disney's merchandising unit had begun planning for the character, but had only released T-shirts featuring concept art so far. Companies such as Hasbro had begun work on "The Child" merchandise as well, but it would not be ready until 2020. A large amount of unofficial merchandise began to appear ahead of the holiday season.[9]

Release[edit]

The season premiered on Disney+ on the streaming service's United States launch day, November 12, 2019.[62] The second episode was released on November 15, with weekly releases for subsequent episodes.[63] The seventh episode was released early on December 18 so it could include a sneak preview of Star Wars: The Rise of Skywalker, which was released on December 20.[64] When Disney+ became available in several European countries in late March 2020, episodes of the season were again made available weekly despite the full season having already been released in other territories, an approach that James Whitbrook of io9 described as "perplexing" and "dumb".[65] The first two episodes were made available at launch in the countries on March 24, 2020, followed by the third on March 27, which each subsequent episode released weekly.[66]

Reception[edit]

Critical response[edit]

The review aggregator website Rotten Tomatoes reported a 93% approval rating with an average score of 7.97/10, based on 36 reviews. The site's critical consensus reads, "Action-packed and expertly-crafted—if at times a bit too withholding—The Mandalorian is a welcome addition to the Star Wars universe that benefits greatly from the cuteness of its cargo."[67]Metacritic, which uses a weighted average, assigned a score of 70 out of 100 based on 29 critics, indicating "generally favorable reviews".[68]

Zaki Hasan of the San Francisco Chronicle said the show "in essence allows the franchise to take a mulligan with Boba Fett. Take the look, take that ineffable 'cool,' and transfer it over to an entirely new character who offers an untouched canvas, while giving the audience something that feels familiar." He added, "Three episodes in, that's really all The Mandalorian is: a feeling. A good feeling, mind you, but rather than any specific storytelling quality, it's that feeling you're talking about. The visual effects, the sound effects, the overall look of the thing is all bang-on. This is a polished production that shows off every cent of its feature film budget on every frame of its run time."[69] Writing for The Ringer, Micah Peters said, "The Mandalorian may already be difficult to care about as something more than an installment that exists solely to set up the next installment. But there are still many enjoyable things about it, and also it's a Disney show with spaceships and giant sea slugs, so it doesn't need to be Citizen Kane. It might, however, be the next great TV Western."[70]

Audience viewership[edit]

Within four days of its release, The Mandalorian had stronger U.S. demand compared to four of 2019's biggest streaming originals: Netflix's The Umbrella Academy, When They See Us, The Dark Crystal: Age of Resistance, and Amazon Prime Video's Good Omens. However, it registered less than 40% of the demand of Netflix's Stranger Things and was behind other established shows such as DC Universe's Titans, nor was it in the top 10 for the most in-demand shows across all TV networks and digital services for the week of November 10–16. TV Time, a popular app allowing users to track shows and movies they are watching (or want to watch), stated though that the number of people interested in The Mandalorian had doubled for the following week, and noted that it had the largest gain of any TV show.[71]

Accolades[edit]

Main article: List of accolades received by The Mandalorian

Documentary series[edit]

In April 2020, Disney announced an eight-episode documentary series titled Disney Gallery: The Mandalorian (also known as Disney Gallery / Star Wars: The Mandalorian), which premiered on Disney+ on May 4, 2020, Star Wars Day. The series features interviews with the cast and crew of The Mandalorian, behind-the-scenes footage, and roundtable conversations hosted by Favreau that explore the production of The Mandalorian. Subsequent episodes of the series were released weekly on Disney+.[80]

Notes[edit]

  1. ^The weapon is not identified on screen, but was later confirmed to be the Darksaber.[2][3] It is a Mandalorian lightsaber that has appeared previously in the Star Wars animated series.[3][4]
  2. ^Misty Rosas provided the on-set performance of Kuiil.[12]
  3. ^The featured members of the 501st Legion are Marie Gwin, Jeff Leone, Brent Wilkinson, Michael Bender, Todd Masters, Manuel Dekker, Rick Alpi, Jacko Luong, Mark Edwards, Jacob Gonzales, Chris Elguera, and Sam Newcomer.

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Sours: https://en.wikipedia.org/wiki/The_Mandalorian_(season_1)
Boba Fett ALL SCENES (The Mandalorian Season 2 Episodes 1-8 + POST CREDIT SCENE) Compilation

On Friday afternoons we were already laying out our things in the house. At every opportunity, the boys pinched me in a secluded place and we managed to soak up there, including my favorite blowjob. Upon arrival, we immediately opened champagne for me, and the guys themselves vodka, drank a glass and began to light the coals in the grill.

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He smiled and his hand wandered in the folds of his robe. She realized that the prince was kneading his treasure. The princess again found herself on the edge of consciousness, but managed to notice that the maid brought the prince a cup. With her secretions and he drank everything without a trace.



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