‘The Mandalorian and Grogu’ is too stationary, failing to justify its existence as a movie

Saying a movie spun out of a TV series should have stayed a TV series feels like an easy, sometimes even lazy, criticism. I thought that might apply to The Mandalorian and Grogu. Yet it’s probably a fair gripe.

The Mandalorian and Grogu doesn’t utilize what made the series special, probably because it’s limited to a two-hour running time rather than eight episodes of TV. It’s also limited by not being allowed to step outside the show’s boundaries into the larger Star Wars mythology. So yes, rather than being made into a movie, this should have been Season 4 of the series. (And hopefully, with more episodes, it would have been better.)

What made The Mandalorian series so enjoyable as a Star Wars fan is that it expanded the universe that we followed in the movies. It made the mythology feel bigger against the backdrop of the war between the Rebellion and the Empire, building on the concepts of the Jedi and the Force. It also added more to ideas that were intriguing yet not crucial to the overall story — characters such as Boba Fett, his origins, and the society in which he existed.

Yet the world of The Mandalorian could only go so far. It runs into a ceiling. We don’t see the main character, Din Djarin, in the newer Star Wars trilogy. (The series is supposed to take place between Return of the Jedi and The Force Awakens, which allows for a whole bunch of storytelling possibilities.) Grogu, the adorable “Baby Yoda,” was not a part of the most recent films either.

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Michael K. Williams was always the most compelling person on the screen

The best thing I can think of to say about Michael K. Williams is that he made you take notice.

The actor was found dead on Labor Day (Sept. 6) in his Brooklyn apartment. Though a cause of death wasn’t announced, Williams died from an apparent drug overdose judging from heroin found nearby and no foul play in evidence.

If he was on an HBO series, it had to be taken seriously. And Williams could be called Mr. HBO. Of course, he broke out on The Wire. Omar LIttle was Batman, Paul Kersey, and Robin Hood, striking fear in the hearts of criminals with lethal fury. But he also had a tender side which was revealed in his personal life, making him sympathetic and resonant.

“A-Hunting We Will Go” would never just be a kids’ folk song again.

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On second thought: Rethinking a couple of my ‘Ted Lasso’ recap answers

Since Season 2 of Ted Lasso began, we’ve been doing roundtable-style recaps at Awful Announcing. It’s been fun to get different voices in there, rather than one view, and the recaps provide a nice break from covering sports media. We’ve also done a good job of not repeating the same thought a few times — which was my biggest concern going in.

I don’t usually feel like I want to change some of my answers. And it wouldn’t be fair to do so after the article publishes. But for our “Rainbow” (Episode 5) recap, there were a couple questions that made me want to give two answers so I’m going to post them here.

Favorite scene or quote?

Original answer: Dani – “Jennifer Lopez!”

Ted – “That’s a great call, Dani. And not at all a beat too late.”

On second thought: The scene with Ted and Isaac meeting Roy late at night down a dark alley. Ted texts Roy and his phone lights up, revealing that Roy was nearby waiting. It scares the shit out of Ted and Isaac. I’m still laughing at that one.

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Hey, that Peacemaker guy looks familiar… !

I can’t remember much useful from school (which inspired me to try and put together a high school reading list while in quarantine), but something that reminds me of comic books I read as a kid gets my brain working.

On Wednesday, HBO Max announced the development of a limited series built around the Peacemaker character that John Cena will play in James Gunn’s upcoming The Suicide Squad film.

But the key art released with the news trigged memories of an image that’s apparently stuck in my brain over the past 30 years. The headshot of Cena’s Peacemaker, drawn like a comic book illustration, looked a lot like John Byrne’s rendition of Captain America for the signature corner boxes that Marvel Comics put on its covers from the 1960s through the 1990s.

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