THE MANDALORIAN AND GROGU is kind of a different approach to a Star Wars picture: a small, standalone adventure. The fate of the galaxy is not at stake, there is no chosen one, no prophecy. It’s not even a prequel or an origin story. Coming from the popular Disney+ series The Mandalorian has given people the impression that it requires homework, but I assure you there is nothing at all you need to know that’s not there in the movie. It’s just one story about the titular bounty hunters on a mission, and not the mission that changed it all. Just a mission. To misquote M. Bison, it’s not the most important day of your life. It’s just Tuesday.
So it’s in the same world I love visiting in that epic space opera, but truly it’s a western or a samurai movie. That’s what I like about the show too, and I was skeptical about turning it into a movie instead of doing another season, but it turns out it’s fun to see these guys in one contained story with movie level production values. It’s light on the force, but high on some of the other things I love in Star Wars: a bunch of fantastical settings, outlandish creatures and robots, lots of them animated, some puppets, even some stop motion by Phil Tippet Studios. (read the rest of this shit…)
STAR WARS: THE RISE OF SKYWALKER is the kind of thing that happens when a singular voice creates a revolutionary trilogy that changes movies forever and becomes a cultural phenomenon beloved by generations and then years later makes a trilogy of prequels to said movies that are also a cultural phenomenon and also change movies forever in a different way but are disdained by many and after a while he gets so sick of fuckin hearing about it that he sells off his entire life’s work for nearly five billion dollars and gives most of it to charity while a giant entertainment conglomerate treats his creation as an all-consuming brand centered around a third trilogy that ends the saga but is made by three different directors with no plan for where the fuck it’s going and the first guy does a good workmanlike job, then the second knocks it out of the park with a soulful and distinct followup that severely pisses off a small faction of people we only know about because of the internet and then the third guy gets fired so the first guy has to come back and figure out how the fuck to conclude a story he designed for some other poor sucker to have to deal with and also find an ending to the larger cultural phenomenon he’s been mimicking and for some reason he feels the need to alienate the people who like the movies by pandering to the people who didn’t.
Hey everybody. As you know, certain people enjoy lispy puns, and have turned “May the 4th” into the international day to celebrate 
a.k.a. 
