The Mandalorian & Grogu Repeats Several Problems Star Wars Fans Had With The TV Series

This is the way. Spoilers follow for "Star Wars: The Mandalorian and Grogu."

When "The Mandalorian" first arrived in all its small-screen glory on Disney+ in 2019, it seemed the entire "Star Wars" fandom was united in praise over this pivot to a more episodic corner of the universe. The adventures of Pedro Pascal's Din Djarin involved much lower stakes; the biggest reason to keep tuning in revolved around whatever antics Baby Yoda (as he was then known at the time) would get up to, and it all felt like a perfect opportunity for the galaxy far, far away to return to its roots. Everyone agreed that this was the way ... everyone, that is, except for grumps like me.

While most hailed this as the best thing "Star Wars" had done since the originals, I was flummoxed by a season that threw pacing out the window, provided almost zero introspection into our own main character, and seemed wholly uninterested in anything except turning that annoying little gremlin (I'm on record as hating Grogu's guts) into a weekly viral sensation. Aside from a handful of episodes, particularly those directed by standouts like Rick Famuyiwa, Lee Isaac Chung, and Bryce Dallas Howard, the majority of the show fell disappointingly flat — even before fans turned against its shockingly disjointed third season.

So, if these issues have largely been baked in from the start, is anyone truly surprised by how dull "The Mandalorian and Grogu" turned out to be? Since "The Mandalorian" rarely added any sense of momentum or energy to the story, of course, a spin-off movie directed by series creator Jon Favreau and co-written by series executive producer Dave Filoni wouldn't be any different. This isn't an aberration for this property, but the exact same problems writ large.

If anyone's tempted to claim that we're holding "The Mandalorian" and its subsequent blockbuster movie to unfairly high standards, keep in mind that we're not really asking for much here. It's one thing to demand "Andor"-levels of sociopolitical depth and meaning from a simple adventure tale mostly aimed at kids. (Although, I mean, why the heck not? "Star Wars" has certainly done this before with "Rebels" and to great results.) It's another thing to expect nothing more than basic competency in the fundamentals of what a script ought to accomplish. Rather than settle for Mando embarking on a series of side-quests with very little urgency or personal stakes, go through the motions of rigidly-staged action set pieces with various CGI monsters, and maybe toss in some cameos to larger franchise lore for good measure, why not aim a little higher than that?

Instead, "The Mandalorian and Grogu" opts for giving fans more of the same. Each subsequent gunfight Mando gets into is as weightless and unimaginative as the last, with perhaps the sole exception of the arena fight. As for anything remotely resembling a character arc, well, there isn't one. I suppose there are concepts of a plan about how Grogu will inevitably outlive his father figure, but the actual story does nothing to challenge either character with that mildly interesting idea. It's also startling to realize that Din Djarin has no reason to do almost anything he does in this movie; if he's not personally invested in eradicating leftover Imperial remnants or even the general well-being of intermediary target Rotta the Hutt (Jeremy Allen White) beyond the credits it ultimately gives him, then why should any of us be?

As troubling as the lack of ambition behind "The Mandalorian and Grogu" is, what's even worse is the nagging feeling that this is precisely how this feature was designed to be. "Star Wars" needed a safe and easy win after the calamitous "The Rise of Skywalker" nearly seven years ago, and this low-budget stopgap will almost certainly provide that at the box office. But can't good art and good commerce coexist? Apart from helping to line the pockets of happy shareholders, doesn't director Jon Favreau's job description also involve delivering something worthy of one of the world's biggest franchises?

Which brings us to, potentially, my most uncomfortable point of all. It's obvious why the "Iron Man" and "The Lion King" director was picked to shepherd what was originally meant to be Season 4 of "The Mandalorian" onto the big screen — Favreau's a proven filmmaker on multiple budgetary levels, he helped turn the show into a hit in the first place, and, most importantly, he has preexisting relationships with both Disney and Lucasfilm brass. But familiarity also breeds complacency. Why not bring in outside talent to liven things up and add a fresh perspective to these heroes ... you know, like "The Mandalorian" vets Rick Famuyiwa, Bryce Dallas Howard, or anyone else who may have been ready and willing to take the job? Favreau could've opted for a Kevin Feige-like role of overseeing production and ensuring a certain level of brand fealty, while otherwise letting another director cook.

But no, "The Mandalorian and Grogu" simply reinforces the status quo in every way — a problem that bedeviled its parent series, as well. The "Star Wars" movie is now playing in theaters everywhere.