[S3E3] Look At What We Have Here Fixed
they just have nothing to do with each other and look a bit like two novelty dinner plates having a fight.The colours are gorgeous though, the sort of sinister, grungy opalescence in the larger portion is captivating
[S3E3] Look at What We Have Here
Kendall shows up very much uninvited at Waystar Royco and interrupts an employee meeting in a way carefully planned to humiliate Shiv. Tom starts to suspect that he was going to wind up incarcerated no matter what, so he attempts to pick up some points with Logan on the way there. Logan tries to wiggle his way out of the DOJ investigation that's been coming, but he fails, and the FBI winds up pounding on the doors of Waystar HQ until Logan can do nothing but capitulate.
Any claim Kendall might have to actually caring about the allegations against Waystar is obliterated by his decision to make a sonic rape joke while his sister is talking, so in terms of his path, that's acceleration right there. Predictably, shortly after his triumph, he's brought back down to earth when he sees Shiv's public statement excoriating him. But of course, only moments later, he perks up when he gets the best possible news: The FBI is raiding Waystar Royco. Kendall is as lost as ever; just in a different way.
If you're wondering what the reason was for having The Mandalorian take this detour, just remember: The Mandalorian Season 2 and Star Wars: The Bad Batch have both been putting pieces in place to explain the Empire's cloning advancements that resulted in Snoke's creation, and Palpatine's return in the Sequel Trilogy.
November watches Ivanovna from the safety of those arches, and we see Hotel Sacher in the background (look for the red awnings). Normally, she would have to pass a queue of folk eagerly awaiting a table at Café Sacher (on the left of the photo).
One of the coolest things about this episode is how many touchstones it has to Terry Gilliam's "Brazil." I wrote about how it influenced "The Last Jedi" as well, and it's great to see it getting more play in "Star Wars." In this episode, it comes very much in the form of Dr. Pershing's experience in the job he's been given during his amnesty. He's just going through sets and sets of data cards (all of them looking very much like the data cards Princess Leia used to smuggle the Death Plans in "Rogue One: A Star Wars Story" and "A New Hope). He realizes that so much of what he's going through is stuff that's ready to be decommissioned, even though it could still be useful to the New Republic. There's a moment when he wants to rescue a particular piece of equipment and his supervisor tells him he would need to file a C-1023, which smacks a lot of the 24B-stroke-6 in "Brazil" and "The Last Jedi." More than anything, there's a futility to the bureaucracy in "Brazil" that feels like the New Republic is falling into that trap.
We still have very little idea of what Moff Gideon was really up to. We don't know what he's consolidating his power for. Are those his TIE Interceptors that destroyed Bo-Katan's home? Is there some larger Imperial Remnant he's rallying? Is Gideon actually working for a returned Thrawn and we'll find out about that in the "Ahsoka" series?
As Din Djarin and Bo-Katan battle the TIE Interceptors, there's a moment with the N1 Starfighter that looks as though it was pulled straight out of Tim Burton's "Batman" (1989). Din Djarin pulls straight up into the air with his N1, leaving the silhouette of the ship to hang in the sky for just a moment before descending back down on his enemies. It hearkens back to that moment when the Batwing is framed against the moon in the night sky during the penultimate climax in Tim Burton's superhero masterpiece.
Monument Plaza is a location we've heard a lot about but have never seen in close detail in live action. The peak of Umate, the highest mountain on Coruscant, features at the center of the plaza and Pershing and Kane have a touching heart-to-heart there. It's featured in media from "The High Republic," "The Clone Wars," and Chuck Wendig's "Aftermath." We glimpse it in "Return of the Jedi" for the barest of seconds. It's an important spot on Coruscant and it's good to be getting a better look at it. The music here is also very familiar. It sounds like they've adapted John Williams' "March of the Resistance" to play here, which is a very interesting choice of theme here.
As much as this episode satisfied my prequel-loving heart, it shows the cracks in what the special effects are able to accomplish on the show. Yes, they have the stagecraft, but Coruscant is still a really complicated environment to pull off. I think they did so reasonably well, but I can definitely see where it might strain credulity for some viewers. There's also something to be said about this episode feeling like a side story. For viewers not accustomed to putting two and two together for themselves, I can see where they might feel Dr. Pershing's story simply isn't relevant. They're wrong, but I can feel where they might sense that.
It's a really bold move to take this turn in the series, even just for an episode. I think it's going to pay off later as we dive deeper into the Living Waters and explore what it actually means to be a Mandalorian. This episode asks a lot of questions we don't have answers to, and it will be judged a lot more fairly (or harshly) based on how those answers turn out. Which, in my mind, makes it a very successful piece of episodic television.
At work again, Pershing finds out the data he is archiving is intended to be destroyed, even though it is all valuable technology. His superior explains that since it is Imperial, and since there is so much bureaucracy and red tape involved, Pershing is better off just doing what is asked of him.
After spending six weeks at the commune, Eddie asks Locke about his father, but there's nothing much to talk about, according to Locke. Eddie then asks Locke about the greenhouse he is never let into. He claims there are too many secrets in this "family." When Eddie observes several large bags of fertilizer being taken into the greenhouse he says he knows what's going on, and he wants in on whatever they are blowing up. Locke laughs but says he will talk to Mike and Jan and will try to arrange answers to Eddie's questions.
John takes Eddie hunting to "cover up his mess." He learns from Eddie that the police chose Locke because he hadn't been here long and didn't have a criminal record and was most subject to coercion. When Locke is about to shoot Eddie, Eddie tries to calm him down, saying Locke is not a murderer, that he is a farmer. Locke corrects him, saying he is a hunter. Locke cannot bring himself to pull the trigger and Eddie walks away. 041b061a72