Led by Jon Favreau, Peyton Reed, Bryce Dallas Howard, Carl Weathers, Dave Filoni, Robert Rodriguez and Rick Famuyiwa
Over eight weeks at the end of 2020, Disney and Lucasfilm began their second season of Am Mandalorian, first Star Wars live-action television series christened their streaming service, Disney Plus, in 2019. As was the case with Season One, Lucasfilm and its creators continue to add action-packed sex. -adventure forward with familiar cultural and film narratives, trying to capture an audience with nostalgia rather than meaningful drama.
The story picks up where the first season went: Din Djarin, aka “The Mandalorian” (Pedro Pascal), searches for a Jedi so he can “The Child,” a child of the same sex as Yoda returned from the movies, of its own kind. Din and The Child, who have been named Grogu halfway through the season, develop a kind of parent-child relationship that is the main driver of the plot.
Meanwhile, Moff Gideon (Giancarlo Esposito), the now-hidden leader of the Imperial forces, tries to capture Grogu so that he and his scientists can use his special blood. for scientific experiments of a sinister nature. The eight episodes in season two play out in the same way as the eight episodes of season one: Din tries to keep Gideon from capturing Grogu with help from a support team he blindly bends along the way. A range of struggles, space fights and fight sequences go hand in hand.
Again, as noted, the writers and directors draw on familiar illustrations and ropes from film and television history. The program is directed by Dave Filoni, a protégé of George Lucas before Disney bought Lucasfilm, based in the Star Wars equivalent of a torn Japanese medieval town south of Akira Kurosawa Yojimbo (1961). Toshiro Mifune’s shoes are filled with the character Ahsoka (Rosario Dawson) who walks and wears a saber in what is often beaten to make a copy of the store material (without its social and artistic significance). Even an old town looks out of its pit in a way similar to a Kurosawa movie.
In this second season, the creative people have also begun to introduce “legacy” characters from older people. Star Wars films and television: Luke Skywalker (Mark Hamill) and Boba Fett (Temuera Morrison) from the films and Ahsoka and Bo-Katan (Katee Sackhoff) from animated television. The writers here replace content knowledge, just trying to fulfill the fantasies of the fans by showing the heroes of their youth in a new light. The creators were like doing Am Mandalorian playing with action figures in the sandbox as children.
The result is the same. The story is completely unexpected and has nothing to say. In the style of Quentin Tarantino, the creators engage in a fantasy of revenge – setting up figures of a humiliating fascist type that will be overthrown by both the physical weapons and the cheap philosophy of the protagonists. Jon Favreau even introduced Tarantino’s occasional companion, Robert Rodriguez ( Desperado, Machete ), to lead the first series of Boba Fett with over-the-top series signatures and brutal violence.
As season two approached, on 15 December 2020, Lucasfilm took part in Disney’s “Investment Day” event to showcase the various future film and television projects that are set to emerge over the next several years, with many of them spinoff series from Am Mandalorian. The list of 10 new projects includes a Boba Fett a television series directed by Rodriguez and a new special film written and directed by Patty Jenkins (Monster, Surprise woman) to be released in 2023.
The fact that Lucasfilm chose to showcase these projects at a Disney investor event shows what it is Star Wars suffrage is largely nurtured to achieve: increase in profits. This is Disney ‘s approach to full effort from the start – to create products that evoke a teenager’ s nostalgia and dreams rather than artistically presenting something challenging. In fact, the Star Wars The right to vote was never artistically challenged, but at one time there was a certain key charm.
As we have noticed several times in similar reviews, a lot of talent and innovation is involved in doing jobs such as Am Mandalorian, especially from a technical point of view. Both seasons have made use of a new technology called “the Volume” – a combination of a physical set, 20-foot-tall LED panels and digital elements appearing inside the panels to be shot live together. to the actors. Actors report that this technology better supports their performance, as they can immerse themselves within the setting, and the creative people can ensure that digital elements fit on what they are filming on the spot rather than in post-production.
Another element that enjoys the musical score, written and played largely by Academy Award – winning and Grammy writer Ludwig Göransson. The young music producer successfully combines elements of Swedish heavy metal beats and hip-hop with more traditional symphonic melodies to create something that is both progressive and satisfying to hear.
Financially, Disney’s move into the streaming world has been successful, especially in 2020 when more people were forced to stay at home and turned to such services for entertainment and solace. By February 2020, Disney Plus had signed up to nearly 30 million customers, far more than the 20 million figure that analysts had predicted would not be exceeded even by the end of 2020. August, Disney Plus had more than 60 million paying subscribers, fulfilling its goal of 60 million to 90 million subscribers by 2024 four years ahead of schedule.
Disney stocks started the year at about $ 140 per share and fell – along with many shares of the film industry – in March to about $ 85 per share at the start of the COVID-19 pandemic outbreak in the United States United. By November they had recovered and returned to around $ 150 per share and, following the Deposit Day announcements in December, have moved up to around $ 170- $ 180 per share since then.
The next main Star Wars announced project Boba Fett’s book —An Mandalorian a spinoff series created by Jon Favreau and Filoni and directed by Rodriguez. It is also now in the production of a Rogue One prequel spinoff series, Andor, written and directed by Tony Gilroy (Bourne Identity, Michael Clayton). The first one was announced for December 2021, and the last one is likely to be released sometime in early 2022.