The title is both referring to The Mandalorian (the show) and the Mandalorian (Din Djarin, the character). Chapter 9 shows us what appears to be the natural evolution of both, in their own way.

When a successful tv show gets to its second season, or when a movie gets a chance for a sequel, there’s sure to be some debate on what path to follow next. Some argue that it should stick to what audiences reacted to so well, while others may claim that it should develop into something new, something fresh. This involves a lot of second-guessing, and it is bound to be hard to keep the creators’ vision untainted by outside feedback. Disney+’s The Mandalorian, like few other shows, managed to bypass most of that since Season 2 was already being written and shot before Season 1 even premiered. This being the case, the new season’s inception began as the first one did, with the creative minds behind the show not being influenced by anyone but themselves, and so far the end result seems to also mimic Season 1’s in its resounding success.

The plot is still keeping it pretty simple and straightforward. We’re not getting multiple storylines being focused on at the same time, with added locations and various active characters. We’re still focused on only following the story of Din Djarin and The Child. That’s how the show began and that’s how it thrives. What seems to be an obvious step forward in terms of scale isn’t the story itself, but the way it’s being shown to us. I greatly enjoyed the number of establishing shots we got throughout the episode. The way the world Din Djarin in moving through seems bigger than ever, with the episode taking its time in showing us not only the new locations but how one gets there, portraying Tatooine in a way that felt the most satisfying since.. well, ever? If the show manages to keep the storyline concise and the environment and locations at such a grand scale, it may probably continue to tap into that A New Hope gold. A simple story, relatable and easy to follow that is set in a wondrous universe filled with possibilities.

When it comes to the main character, one has to feel that it has experienced a natural growth of his own. When we first meet Din, he was but a solitary bounty hunter, looking for a payday any way he could. Even his fellow Mandalorians managed to get in his way, doubting his allegiance to the Mandalorian creed. Through season one he began to understand that to survive in such an inhospitable part of the galaxy he would need the help of others, as his own kind so emphatically showed him. It all began with Kuiil, that moved by a hint of self-interest helped him reach The Child so his valley could be free of mercenaries. And like this one relationship, all the other he developed throughout season one were also mostly devised out of a sense of common interest. A mutual enemy being the usual reason.

But then comes Season 2. Faced with a dispute that could probably be easily resolved with a laser blast, allowing him to be on his way and not get involved any further in the dealings of a small town in the middle of Tatooine’s desert, Din decides to go above and beyond and do the right thing with little self-interest to it. And in doing so, he not only helps to resolve the problem facing Mos Pelgo, but he serves as an intermediary in the resolution of a long-lasting feud between two hostile communities. This brings Din Djarin even further away from his violent beginnings, making him not just someone that looks to do the right thing, but one that looks to inspire that upon others. The makings of a hero.

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