![]() ![]() ![]() Even universe-expanding takes like Rogue One (a clever retcon of the original Death Star’s structural flaw, with cameos by Darth Vader, Grand Moff Tarkin, Princess Leia, and other familiar characters) and Solo (an origin story for everyone’s favorite smuggler-general and the future daddy of Kylo Ren) fall prey to this tendency. Where to begin lamenting this self-defeat? For one thing, the Luke cameo in the final moments of “The Rescue” continues the Disney-era Star Wars tradition of tying every supposedly new story back to the multigenerational adventures of the Skywalker family. But in the final moments of “ Chapter 16: The Rescue,” the series succumbs to the dark side of parent company Disney’s quarterly-earnings statements, which keeps dragging Star Wars back toward nostalgia-sploitation and knee-jerk intellectual-property maintenance. For two seasons, it has tapped into the light side of the franchise, represented by the humor, action, world-building details, and friendship narratives that have defined George Lucas’s science-fiction fantasies since 1977. Selznick, a producer-director-writer who has worked on Marvel, Star Wars, and Disney Animation projects simultaneously - The Mandalorian is earnest and lovingly crafted, easily the freshest thing Lucasfilm has given viewers since Genndy Tartakovsky’s 2003 Cartoon Network classic, Clone Wars. The second-season finale of The Mandalorian was the best of Star Wars and the worst of Star Wars, a momentarily thrilling and moving episode that, once you stepped back and took a hard look at it, felt more like a victory for the dark side.Ĭreated by Jon Favreau - Disney’s speed-dial answer to David O. The final moments of “The Rescue” continues the Disney-era Star Wars tradition of tying every supposedly new story back to the multigenerational adventures of the Skywalker family. ![]()
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