Jon Favreau
The Mandalorian

The important thing is that the story continues. In the para-cinematographic world of platforms, this is the prevailing maxim: to have something to tell that lasts a long time. A canvas on which to build seasons and seasons, because subscribers have every right to demand something new and fresh at every turn.

I return for a brief moment to the universe of Star Wars, of which I consider myself neither an expert nor a fan, to highlight some significant aspects of this famous series, which has been presented as the best thing to happen to this franchise in a long time. And it's true, but this should be a point of reflection.

Mando is a wise and well-calibrated product. That sly fox Jon Favreau has been deeply entrenched in the Disney world for quite some time and knows what the mood should be, what pleases the omnipotent master, who will soon also have the most frequented streaming platform in the world. Enjoyable action that's never too violent, cute little characters perfect for selling gadgets, but also a certain taste in aesthetically constructing worlds and creatures. An infinite narrative that never exhausts itself. Disney's obsession, and ultimately the fear that dictates its actions, is the curtain falling, the lack of new stories. We can interpret the gluttony of recent years in these terms.

The series skillfully combines the horizontal continuity of the episodes with the vertical construct of each individual episode. Characters that were met and bid farewell return after some time, situations that seem resolved reopen. Everything is very simple, the issues are always particularly plain and concrete. This facilitates a view of pure and satisfying entertainment, to see how they manage to get out of it every time. A certain flavor of 90s TV series that, however, enjoys the resources of Disney and the imaginative richness of the saga. It plays on a continuous teasing of the expanded universe, caressing the dreams of fans or creating effective plots, with narrative digressions that diverge from the central saga.

Being able to construct action dynamics that don't become stale or repetitive is a great merit. But there's also more. There's a charismatic character, of whom we almost always and only see the shining armor, that goes well with a hinted psychological complexity. A bounty hunter who, however, never just limits himself to hunting bounties, attempts a moral path.

Finally, two decisive aspects. The tone that often touches on irony or in any case averts overly serious moods like “Luke I am your father” and, the true gem of the production, a splendid soundtrack by Ludwig Goransson, who had already caught attention with the score in Tenet. And it's western music, for a series that wants to bring the star wars to gunslinger (robot) saloons.

Mandalorian works because it sets precise limits, well circumscribes themes and environments, establishes realistic goals, and pursues them with skill and means. A product with a very concrete and almost artisanal spirit in its insistence on details, materials, and the fine edges of simple but well-developed stories. Because the story (and the subscription) never ends.