Moving forward in the Disney Gallery with “The Mandalorian” comes down to casting in Episode 3. The key with telling the story is not trying to cover up what might be perceived. With Episode 3, the round table structure again helps with the process because, one is aware fo hat is being seen, especially with actors. The aspect of Pedro Pascal is of course him actually being in the costume. It of course is broken down in terms of stunt fighting whether it be action or gun play which is actually two different stuntmen. That is very much seen and laid very honestly forward. But Dave Filoni and Jon Favreau tell an interesting story later in the episode about an effects camera test before they even started shooting with just extras in costumes on set before Pascal slipped on The Mandalorian’s uniform. Pascal relates though that he was there Favreau and Filoni admit that even behind the mask and costumes need to be a sense of acting which can be even harder.

The directors Deborah Chow & Rick Fujikawa relates this as well. It is key. Filoni actually relates that the test was the first time they were using the new cameras and he actually calls Favreau “coach” saying “it would be so much easier if I could draw it”. It is a very telling moment. Pascal understands the intent of the character but he never gets really deep into what Mando is really since it might give away too much of what the man is, which is smart. Gina Carano gives a little but of a glimpse into her character interrelating about her origins being from Alderaan which is an interesting detail and makes one think of that character as a little different with something to prove, especially in looks and how she goes forward. Carano pays specific penitence to Carl Weather talking about how he taught her. Weathers seems like a tough love but it has because he has worked with the pantheons of action in the 80s.

When he is talking about acting to a mask, it is specifically interesting that nobody brings up Predator because his death scene in that is so particular and that was against a man in a mask as well. Also the essence of Man With No Name that Jon Favreau talks of Lucas originally envisioning of the Mandalorian plays in part to  reflection of the team Schwarzenegger as Dutch integrated in “Predator”. Weathers is old school and he originally was supposed to be prosthetics and was only going to be in Episodes 1 and 3 as a favor. Obviously he saw enough in this angle to work because apparently he doesn’t act as much (or need to anymore). He was in an NBC show that lasted briefly called “Chicago Justice” which I did an interview for so it is interesting to see how he connects. But ultimately it is about building the world which of course some of the casting being spoken about recently for Season 2 points to very specifically.


By Tim Wassberg

IR TV Review: STAR WARS – THE CLONE WARS – FINAL SEASON – EPISODE 12 (“Victory And Death”) [Lucasfilm/Disney+]

The ending of any series is about perspective but also about beginnings, however difficult they may be. The final episode of “The Clone Wars” is finite by design but also recognizes and understands the structure in play. It purposefully leaves perspectives of certain characters out which is important in the scheme both for the telling of later stories but also to let the audience add their two cents if need be. This is a hard process to portray simply because so much is known. Without giving anything away, Ahsoka Tano needs to find her way out of a particularly harrowing situation. Maul is in true form but what his life is to become later is still being written up to a point. Reflective areas on “Rebels” is still being formed which is why there is rumors (unsubstantiated at least right now) of David Filoni doing more “Rebels” The final battle here feels different and more subdued in terms of overarching cinematics while still having scale. Instead it has the texture of one of the films with an ending sequence worthy of the films. It doesn’t carry the emotional weight of the previous episode but that is because the damage has already been done.

This is an epilogue of sorts but still very important in the mythology because of what it shows and how characters see things. This is very deliberate and creates odes to different recent and older films. David Filoni, having been integrated into “The Mandalorian” has a vision, perhaps clearer than the films but under no less pressure at times. Lucas supposedly really thought these last episodes keyed into a certain aspect of “Star Wars” and what it was. And this indeed was Tano’s tome which hopefully we will see more of in some way shape or form heading forward.


By Tim Wassberg