Last week season 3 of ‘The Mandalorian’ ended on Disney+ and still echoes in my head, for better and for worse, some issues seen in those final minutes. And the fate of the ancient Mandalorian lightsaber, the “Darksaber” or “Dark Saber” It is something that has more meaning than it seems. By the way, from here spoilers.
I say what it seems because it hardly seems to matter to the fact that in that final confrontation with Moff Gideon (Giancarlo Esposito), the mythical sword has been destroyed (or as destroyed as something made with béskar can be).
The power of history, but not of norms
With everything that happens in the episode, that’s even normal… but in reality the apparent lack of repercussions around it makes us have to agree with Moff when he says that “The sword has no power, the stories have it”.
Because the fact that such a precious weapon that has been around for entire seasons is destroyed and nothing happens talks about a major loss of significance in Star Wars. Which is dangerous in a universe based precisely on ancient rules and traditions.
‘The Mandalorian’ is, in this sense, curiously iconoclastic and determined to break her own rules (whether from the series itself or Star Wars in general) for the sake of story convenience. Although I admit that I quite liked the final stretch of this season, as soon as you scratch it, you can see how many motivations and issues change practically overnight.
This is the way, today
To the example of the dark saber and his “a season ago I didn’t want to take it but now I do despite the fact that the circumstances have not changed” is also added the “This is the way, but tomorrow is something else”. The path of the Mandalore, which has also been adapted to the interest of the story that Filoni and Favreau wanted to tell.
On the one hand, this meeting of enemy factions for life of Mandalorians is resolved immediately. It is true that there is a common objective and a need for union but it is surprising that, beyond a loose brawl, Decades-long differences seem to have evaporated magically. On the other hand, although I think a bit of “heterodoxy” and broadening the range is good, if we neglect to put on your helmet shortly it is “this is the way”.
It must be recognized that, from the beginning, part of ‘The Mandalorian’ revolves precisely to confront the creed with the situation. Of characters who are learning to know when to renounce ancestral rules and way of life in favor of survival (the first time we see the face of Din Djarin, for example). From the “true believers” and “fallen brothers.”
The problem that these two aspects entail is that by playing around with them so much, they no longer take away their transcendence, but rather emotional weight to key moments that they want to show… and that is detrimental both for the story and for the viewer.
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