While the initial episodes offer enticing visuals, the narrative feels a touch threadbare.
The third season of the much-acclaimed Star Wars series, “The Mandalorian,” has rolled out, bringing back our beloved galaxy-traveling duo: bounty hunter and new-found father figure, Din Djarin (Pedro Pascal), and his irresistibly charming young charge, Grogu. Picking up from where “The Book of Boba Fett” left off, Din and Grogu have found each other again. This season showcases Din’s wholehearted commitment to the care and upbringing of Grogu, who despite his diminutive stature, harbors formidable powers.
However, Din faces a personal dilemma. Having revealed his face in the climax of the second season, he’s now marked as an “apostate” by his own creed (fittingly, the season’s inaugural episode is dubbed “Chapter 17: The Apostate”). As per the advice of Din’s past ally, the Armorer (played by Emily Swallow), redemption can only be sought in the sacred waters located deep within Mandalore’s mines. Din, as resolute as ever, embarks on this journey even though Mandalore is believed to have faced near-total annihilation.
Without delving into the details, the premiere episodes, available for critic review, give off an unsettling vibe. While they retain the expected Star Wars-themed adventurous escapades and encounters with fascinating creatures, they fall short on the invigorating pace that characterized the series’ prior seasons. The urgency of Din’s mission to regain his Mandalorian honor doesn’t quite match up to the earlier pressing endeavor of saving Baby Yoda from the clutches of Giancarlo Esposito.
To be clear, “The Mandalorian,” under the helm of Jon Favreau and Dave Filoni, was never notorious for its dense plotlines. It has always had a penchant for serene diversions, be it a tale of a humble hamlet rebelling against the remnants of the Empire or Din’s endeavor to safely transport a frog lady and her precious eggs. The initial episodes of this season do drop hints at crucial forthcoming narrative twists, likely to resurface in recap segments. However, the spotlight predominantly remains on Din’s spiritual quest.
Narratives fundamentally rely on a character’s driving force, and it’s perhaps a tad concerning when every character, save for Din, views his relentless pursuit of atonement (for the mere act of unmasking) as utterly absurd.
Religious conviction, when used correctly, can be a compelling narrative device. Need a reference? Look no further than the Bible. Yet, in this context, we’re discussing a celestial creed that might be foreign to the average viewer, with only sparse details unveiled within the series itself.
The show gives us a glimpse into Din’s steadfast adherence to “the way.” Taken in by the Mandalorian order after a tragic loss of his family, it provided him with a sense of belonging. However, the intricacies of this belief system, which could add depth to Din’s decisions, remain mostly in the shadows. We’re aware that the Mandalorian code necessitates the helmet, but the profound symbolism behind it is still ambiguous.
Behind the scenes, there’s a logistical reason for Din’s unyielding fidelity to the Mandalorian doctrine—when Din’s helmet remains on, it allows Pedro Pascal, a busy actor, to occasionally be absent from the set. Since the first season, it’s been known that stand-ins often represent the character in Pascal’s absence. Season 3 brings a pleasant change, as Brendan Wayne and Lateef Crowder, the initial body doubles, now find their names prominently featured in the show’s main credits.
This recognition is undoubtedly a commendable step for Wayne and Crowder. Yet, The Mandalorian grapples with a protagonist whose face remains hidden, not solely due to his devoutness but also due to logistical concerns. If the helmet was merely a character quirk, it would be easier to dismiss. However, the narrative heavily emphasizes this facet, making it an aspect that’s hard to ignore, especially when the current plot feels somewhat stagnant.
The season’s initial episodes are far from dull—scenes brimming with droids, laser guns, space rogues, and the likes of Carl Weathers, Amy Sedaris, and Babu Frik’s kin ensure that. As the season unfolds, there’s hope for renewed direction, with anticipated Jedi appearances. Yet, at present, the storyline feels adrift, accentuating the show’s current narrative thinness.
Our recollections of Andor Season 1 remain vivid, setting a high benchmark in storytelling. Though both shows differ chronologically and creatively (with Andor set before A New Hope and The Mandalorian following Return of the Jedi), Andor’s approach to using the Star Wars universe as a reflection on our reality sets it apart. While The Mandalorian still offers its delightful escapades, its underlying message appears somewhat muffled.
Tune in for new episodes of The Mandalorian every Wednesday on Disney+.