Judging a series by its first episode is like evaluating a book for its prologue or a love for the first encounter.
And although said so may sound like the admission of guilt that comes with every request for excuses at the wrong time, in reality it wants to be an even enthusiastic vindication of the noble and despised art of
starting well, as it should be.
That basically makes
'The Mandalorian 2'
or, better, that makes the first episode of the second season that just premiered on
Disney +
.
From the first to the last second there is nothing that is not perfectly predictable that does not comply with the rules sculpted in marble from what has already been seen, but, and here his great achievement, he celebrates it.
It does not hide it in the apparatus that always accompanies the expected reunions, nor does it hide it inside a nineteenth-century and convoluted plot that goes nowhere, nor does it even try to compose a '
Mad Men
'
type philosophical-solipsist symphony
on virtue from the indistinguishable and eternally repeated.
Its virtue is its univocal and non-transferable simplicity.
As in ancient myths, the totemic figure embodied by
The Child or Baby Yoda
returns to remind us that there are still timeless tales in their futility.
Jon Favreau
recovers the lonely character (the always hidden
Pedro Pascal
) who has instilled all the mythology of the '
western
' (that is, of the cinema itself), but this time
he frees him from his most burdensome, harassing, stale or simply macho load.
He is a tough guy, but
he does not write cipotuda poetry of his misfortune
;
he is relentless, but attentive to every growl from his partner who is also his adopted son;
he is an explorer, but aware that the greatest discovery is not on the other side of the galaxy but by his side;
he's selfish, but only insofar as he understands the meaning of the word sacrifice ... It's not even entirely clear what his always-hidden sex is, that (bets are allowed) it
has to be counter-binary at best.
For this start over, the director uses a strange and very recognizable mix that ranges from the classicism
of
Kurosawa's
'
Yojimbo
'
, to the cult of'
Tremors
' by
Ron Underwood,
passing through an obvious reference to the desert mysticism of '
Dune
'by
Frank Herbert
.
The story of a gunman who lands in a town besieged by an essentially brutal and unjust threat is that of the liberator who goes through any myth, religious or not, salvific.
If we take into account that the frame of reference is '
Star Wars
', the tale of the tribe that from the
'baby boomers
' to generation Z is constantly renewed, then there is no possible loss.
The intelligence of
'The Mandalorian
' consists of nothing more than
appealing to the spectator's capacity for the most elemental and happy recognition.
And that, in a time of network shipwreck, seems the least stimulating.
A bit of an idiot, yes, but terribly comforting.
From the music of
Ludwig Göransson
to the final drawings,
'The Mandalorian
' is there to refute doomsayers who believe that our perception has already taken on a serial form that rushes from one sensation to the next in a way that is as unconscious as it is true to life. consumer society.
Favreau's creation, on the other hand, takes up the old model of the series from the 80s
and beyond, even that episode after episode (all of them self-concluding or almost) were limited to offering the same thing without even proposing the promise of anything different.
Ridiculous yes, but who resists?
You don't go to 'The Mandalorian' to see how anything or anyone evolves because everyone always does the same thing.
The set changes, but the final tune makes the viewer return to some 'concept art' that return the simple sensation of returning home.
And again.
Stanislaw Lem
proposed in '
An imaginary value'
the possibility of a literature with capital letters that only attended to the prologues.
"The art of writing prologues has long demanded its right to have a homeland," she
wrote on the frontispiece of a book that is nothing more than that: a collection of prologues as a prologue herself to a way of writing, thinking and ordering the world.
"Meditation discovers that the country of prologues is incomparably larger than the country of literature, because what it wants to do, the prologues announce only ... from afar."
Well, here is this new installment of '
Mandalorian
' with a happily defenseless and even slightly unappetizing Baby Yoda as a witness to a full and happy future of identical prologues to each other.
Endless.
Like the oldest of the new stories.
But has there ever been a better television character than Baby Yoda?
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