![]() It’s a film driven by unnecessary desires: from the space politics, to Boba Fett’s backstory, to Padmé and Anakin’s romance. While Revenge of the Sith has some sense of completion and The Phantom Menace has some sense of wonder, all Attack of the Clones has is a CGI Yoda bopping about the screen like an unswattable fly while battling Christopher Lee’s Count Dooku. The prequel trilogy has lived on in infamy, but the true low point of this low point in the Star Wars franchise must be Attack of the Clones, the dry, crusted middle of the cinematic sandwich. If you leave aside the people who saw it abroad or accessed it illegally, the particulars of the series – the adventures of the titular masked bounty hunter, played by Pedro Pascal – f ailed to make it to the wider British consciousness, with one glaring exception: the lovable green gremlin officially called The Child, but who is known to everyone, everywhere, as Baby Yoda. īecause Disney+, Disney’s own streaming service, is launching in the UK four months later than in the US, we Brits are coming to The Mandalorian late – and, for the most part, cold. The idea of waiting half a year for the latest hit series to cross the Atlantic had, it seemed, been long left by the wayside, rendered obsolete by Netflix’s pan-global reach and terrestrial TV’s adoption of simultaneous international broadcasts for high-profile fare like Game of Thrones and Westworld. ![]() When Star Wars spin-off T he Mandalorian debuted in the US last November, it felt like a flashback to a different age.
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