*This post contains mild but only mild spoilers*
A long time ago in a Galaxy far, far away: Palpatine died, Vader redeemed himself at the price of his life, the Death Star was destroyed, and the Empire was overthrown. But of course, Star Wars fans know there is no happily ever after: Sideous will be reborn, Ben Solo will take up the mantel of Vader, new planet killing weapons will be built and they will serve the First Order.
But even before all of that: what sort of world’s did the heroes of original trilogy create? That is the question the characters of the Mandalorian have to grapple with. They live in the gap between the fall of the Empire and the rise of the New Republic, which is a space dominated by warlords and gangsters, where the Jedi are but a legend, and the choices necessary to survive preclude simple allegiance to either the light side or the dark.
This is an environment the titular Mandalorian (Pedro Pascal) appears well adapted to. He is perpetually encased in a helmet and armour, which literally and metaphorically separate him from the people around him – less ‘the Man with No Name’ than a man with no face.
He is a bounty hunter, and a formidable one at that, bound by a “Guild Code” which makes it taboo to ask the kind of questions which might lead to reflections on the morality of his line of work. That is until a client pays him to hunt down an unusual quarry and maintaining this amoral outlook becomes impossible.
It is glorious. Some of the best TV and the best Star Wars I have ever seen. Here are some of the reasons it works so well.
1. The music
This might seem like a random place to start but bear with me: it perfectly distils the feel of this series.
Each episode is scored by Ludwig Gorannson – who also wrote the orchestral music for Black Panther.
Now, Star Wars has always drawn inspiration from Westerns. So, it is natural for the Mandalorian to tell a story with the tropes and conventions of the Western genre set in the Star Wars universe. Gorannson’s music reflects this dual character, creating something which sounds like the product of a collaboration between John Williams and Ennio Morricone. It is luscious but also dripping with menace. It bears listening to all by itself.
Gorannson is far from the only very capable person working on the Mandalorian.
It is the first live action Star Wars TV show and it had pride of place in the virtual shop window of Disney + at its launch. So, the ‘House of Mouse’ has put a reported $100 million behind making it a success.
That allows for a cast featuring not only Pascal but also – amongst others – Giancarlo Esposito, Taika Waititi, Gina Carano, Ming-Na Wen, Richard Ayoade, Amy Sedaris, Nick Nolte – voicing a 3ft foot orange alien, which somehow still looks like Nick Nolte – and Werner Herzog. Yes, that Werner Herzog!
However, it is Pascal who is most impressive. He is not only depicting a character who is honour bound always to wear a helmet – meaning he has to depict the character without using his face – but also one who is modelled on the taciturn Clint Eastwoodesque cowboys, so he’s not got much dialogue either. Therefore, he has to lean heavily on physicality to create the character. Generally, when he makes a movement it is sharp and deliberate – an effect accentuated by the armour he’s wearing.
3. It looks phenomenal
Disney have also been able to attract Jon Favreau, the director of Iron Man and the Jungle Book, to co-write and act as showrunner, as well as directing several episodes. As you would expect given his pedigree – and the calibre of the other talent behind the camera – it looks fantastic. Better than a lot of the films. A succession of different planets and spaceships are lovingly rendered; CGI never looks like CGI and they have the capacity to put some impressive action set pieces on the screen convincingly.
Having invested in visuals, the filmmakers able to let them to do a lot of the storytelling. For example, at one point a simple turn of Mando’s helmet will convey that he has decided to take a mission. This style of course, suits the story’s protagonist.
It also provides a conspicuous contrast with a lot of sci-fi shows. The Mandalorian never subjects us to clunky dialogue that goes like: “ever since the War of the Two Planets, the Neptunium and Plutonian kings have been locked in a struggle for the heart of Rohana, the princess of Titan, a beautiful fish creature with a talent for lockpicking. Now in order to impress her, each man has sent a challenger to compete in the zoidbergaloid races of venus…”. (Or, perhaps worse still: “somehow, Palpatine returned”!)
It turns out that being rather spare with its dialogue makes for leaner storytelling that moves at a brisker pace and better episodes overall.
5. Excitement and tension
The action sequences in the Mandalorian take advantage of the possibilities provided by the Star Wars universe – among them droids, jet packs and tie-fighters – but can use them in ways that more align with its crunchier sensibility. For example, in the opening sequence the Mandalorian defeats an opponent by crushing them in a set of sliding blast doors.
These sequences benefit from being located in a notably nasty and unpredictable universe, where it seems well within the realms of possibility that something unpleasant could happen to characters we care about. That helps dial up the tension.
6. Baby Yoda
Let’s address the mudhorn in the room: Baby Yoda (or to give him his official name “the Child”) became an internet sensation for a reason. With his huge eyes, twitching ears and haphazard walk, he is quite possibly the cutest creature ever to emerge from sci-fi.
That might seem incongruous in an otherwise dark show. However, this mismatch is what makes him a narrative necessity. In a deeply corrupt part of the galaxy, his adorable wide-eyed innocence serves to upend the status quo.
7. Making sense of Star Wars
So far, it appears that in story terms the Mandalorian is at most perpendicular to the Skywalker saga, it does provide an important thematic connection between the original and the most recent trilogies. It depicts the continuing appeal of the Empire to some and, by extension perhaps, why there would be support the arrival of the First Order.
One of the villains asks our hero: “Look outside: is the world more peaceful since the revolution? I see nothing but death and chaos.” The seedy and violent worlds the show depicts, do not allow that point to be easily dismissed.
It not only shows us those who sympathise with the Empire but also those who distrust the democracy which has taken its place. An imperial army slaughtered the Mandalorian’s people, but it does not follow from this that he or the other victims of the old regime, we meet have faith in the democracy which has replaced it.
At one point, when he is clearly troubled by a particularly odious group of ne’er-do-wells, the head of the bounty hunter’s guild suggest with a complete lack of conviction: “well, if it bothers you, just go back to the core and report them to the New Republic”. The Mandalorian wearily dismisses that option as “a joke”. The Mandalorian thus depicts the sense that a tyranical order might be preferable to no order at all.
This marks a departure for Star Wars has generally shown the lure of the dark side from the point of view of characters for whom it offers incredible power. In the Mandalorian, we see its appeal from a different – and more relevant angle: that of those who see no realistic prospect of escaping the darkness, so hope that the right kind of darkness will grant them relief from a life of terror.