Summer is here and several new attractions have premiered at Walt Disney World and at Disneyland. We focus on a new mission for Millennium Falcon: Smuggler’s Run, one that is led by Din Dijarin, the Mandalorian, along with Grogu. We look at how this compares with the previous version of the attraction, and whether first time as well as repeat guests will enjoy this experience. And we preface all of that with the new film, Star Wars: The Mandalorian and Grogu, which premiered on the same day that the new version of the attraction premiered in both parks. We experienced both in the same day, and can offer you insights as to why you might want to experience both of them. So join us as we head to the cinema and to Star Wars Galaxy’s Edge for Mandalorian and Grogu, Movie and Ride, What Works and Doesn’t.

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The Mandalorian and Grogu

What Works

If you were a kid in the 50’s and 60’s then you know something about Saturday matinees, where films–often back to back– were often shown to kids. Growing up in Arizona, the local TV children celebrities, Wallace and Ladmo, would host such events at my nearby Christown theater, handing out Ladmo bags full of goodies before starting the show. Such shows would often include sci-fi or fantasy genre to include films like The Golden Voyage of Sinbad, Journey to the Center of the Earth, and The Time Machine.

If you watch Light and Magic on Disney+–and I highly recommend you watch that documentary series–you are then made aware of the early influences that not only made Star Wars possible but any major FX film from Jurassic Park to Titanic to Pirates of the Caribbean to Avatar possible. Those cinematic pioneers, including George Lucas himself, were kids who went to Saturday matinees and took in all of the special FX created at that time. For them, their dream was doing something like that as adults. One individual, Phil Tippett, was a huge fan of the work of Ray Harryhausen, whose film contributions included The 7th Voyage of Sinbad, First Men in the Moon and Jason and the Argonauts. A signature of Harryhausen’s work was to create crazy monsters in stop motion animation.

By the way, if the name Harryhausen sounds familiar, but not by his movies, know that Pixar named the sushi restaurant in Monster’s Inc. Harryhausen’s. Very appropriate, because that movie is, after all, about monsters.

Phil Tippett became part of ILM or Industrial Light and Magic in its infancy. One of the key moments in the first Star Wars film was the infamous holochess scene or Dejarik (soft e sound) game played on board the Millennium Falcon. It’s a scene between Luke and Chewbacca. Phil Tippett created that scene and did so using stop motion animation where the depicted monsters fight with each other.

Fast forward to Mandalorian and Grogu, and without giving it all away there’s a scene in which there is a big fight between Mandalorian, and another alien creature, against five other alien creatures what seems to be an circular arena. At one point the camera pulls up in a crane shot, at which point if you know your Star Wars you realize that the surface of this arena is marked off just like the holochess scene. It’s a physical representation of the game played between Luke and Chewie.

This moment symbolizes what this film is all about. This is not a Star Wars film in the same vernacular as the kind you have seen in films 1-9 of the entire trilogy. This is a Saturday matinee film, intended for kids. But it’s the best Saturday matinee film ever created. It’s an astonishing sci-fi piece that pays homage to a nearly hundred year precedent of such fantasy style films. Oh, and there’s plenty of practical stop motion effects throughout this film done by none other than Phil Tippett and his group at Tippett studio.

The totality of the special fx in the film would make it worth seeing in a theater. On a big screen they are amazing. Add to this some really great components, like the ultimate sci-fi actress Sigourney Weaver who acts as Colonel Ward and is in charge of the bounty hunter’s mission. Then there’s the impressive score, which again showcases Ludwig Göransson’s musical compositions–and actually makes the film the first not just use a John Williams leitmotif. It is just gorgeous as you listen to it in the theater.

And then of course, there’s Grogu. The puppeteering of this little guy is really charming. They do a terrific job, and the child reminds us of the words of W.C. Fields–never work with children of animals.

What Doesn’t Work

Not that Pedro Pascal does. First of all, it’s not a child, it’s a puppet. Second, Pedro is on the screen only about 10 minutes in the entire film–with two other actors playing his role and doing his stunts with the helmet on. The film’s cinematic look makes it worthy of your biggest I-max theater. But it doesn’t make the film necessarily a cinema classic. It takes the timeless elements of story, arc, character development and messaging to create a cinematic classic. That’s not what you get here.

Don’t miss me, I really like the Mandalorian–Pedro Pascal in particular–and who doesn’t like Grogu. I remember the day Disney+ premiered and I happened to awake early that morning. I looked around at the numerous offerings on Disney+ for the first time–but was curious about this thing called The Mandalorian. I watched the first episode early that morning, and was blown away by the discovery that the bounty he’s looking for looks like a baby Yoda in a carriage crib. I was so excited to share it with everyone, but I knew that it would have been one of the worst spoilers to give away. I urged every one of my family to see the first episode that day, and then went looking for Baby Yoda merchandise (a bizarre knitted hat was all I found–nothing had been released yet). I wanted that same “wow” moment in this film. It didn’t happen for me.

I’ve enjoyed many of the episodes that came in all 3 seasons of The Mandalorian, and put up with others. I didn’t like the end of the third season. But there were many highlights in between. Among them were some really wonderful actors, some of which died off in the series ( or like Cara Dune were removed from the show), but others of which could have been included in the film like Amy Sedaris who manages Hangar 3-5 in Mos Eisley playing the role of Peli Motto. Or the band of mercenaries in “The Prisoner” episode–they were so crazy, or Emily Swallow who plays the Armorer, or my real favorite, Fennec Shand portrayed by Ming-Na Wen. None of these performers were included, nor characters who were in the series like Luke Skywalker or Boba Fett, or Ahsoka Tano. I feel these characters–almost all face characters–would have added something more human to the film, giving it more gravitas. Even Sigourney Weaver is really more a book end, making assignments to Din Djarin. I think that’s a real miss. Instead I get three new Hutts to look at–three big slugs–one of which is spending way too much time in the gym. But between three slugs, one masked bounty hunter, and one puppet, it’s not enough to connect–not for me.

Between production budget, marketing and distribution, the total cost of 300 million dollars makes this film the lowest cost live-action theatrical release created by Disney so far. In comparison, Solo: A Star Wars Story made less domestically than this film did in its first weekend 84 for Solo to 100 million for Mandalorian in comparison. Internationally, both films made about the same the first weekend. But the cost of Solo just to make the film was 300 million, not including marketing and distribution. So in many ways, this film was a winner when you look at how smart they approached the budget. But investment isn’t what necessarily makes a great film–and by the way I liked Solo a lot better–though you would think by the reviews of the critics no one else did.

Don’t miss my point, it’s a fun movie–but one you would want to take your kid to on a Saturday matinee. It is not a Star Wars classic. And it’s certainly no Andor–which I would pay good money just to see those two seasons shown in a theater back to back. And I honestly think Disney+ would do itself a favor and cutting up the film into individual episodes when it comes on TV.

Millennium Falcon: Smuggler’s Run

That same day I saw the film, I visited Star Wars Galaxy’s Edge at Disney’s Hollywood Studios in Walt Disney World to see the new version of The Millennium Falcon: Smuggler’s Run. Here we join Din Djarin and Grogu as they track down ex-Imperial officers and a band of pirates (and hopefully bring home some valuable cargo for Hondo Onaka). This is part of a larger strategy to get people to show up at the parks this summer. For Walt Disney World, it involves not only a new version of Magic of Disney Animation and Rock ‘n’ Roller Coaster Starring the Muppets, but also a newly reopened Big Thunder Mountain, Buzz Lightyear’s Space Ranger Spin, Soarin’ Across America and new Cool Kids’ Summer activities highlighted by Bluey’s Wild World at Conservation Station.

At Disneyland their focus is on Bluey, Soarin’ Across America and on the new mission at Millennium Falcon Smuggler’s Run. Only it’s not the only thing to really happen at Star Wars Galaxy’s Edge there in that park. Essentially, their land has been somewhat divided up with different timelines and even different props and aesthetics. The last three films with Characters from across the Star Wars saga can be spotted throughout forest portion of the land, while Black Spire Outpost now has Darth Vader and Imperial Stormtroopers, Luke Skywalker, Leia Organa, Han Solo, The Mandalorian and Grogu, and R2-D2. There’s also new merchandise, and new food & beverage options.

And all of these changes is underscored by John William’s Star Wars film scores that greet you when you enter the lands and are then weaved together through the experience. After visiting Disneyland when it first opened Star Wars Galaxy’s Edge it was one of my first primary concerns I had for the land. It needed the Star Wars John Williams score to underscore the experience. It has finally happened at Disneyland.

But none of these changes are really happened at Disney’s Hollywood Studios. Other than a new themed break area (desperately needed) at the entrance across from Toy Story Land, everything is very much the same. Even when you arrive at the Millennium Falcon and enter into the hangar bay, it all looks the same. It even looks and sounds the same as you weave your way through the entirety of the queue. It’s only when you reach Hondo Ohnaka, that you get a sense that something is different in this attraction.

When we arrived at Galaxy’s Edge we stopped first for a bite to eat at Docking Bay 7. I have been generous in my comments about this restaurant even though its changes over time have been modest. I had what was an original menu item, the smoked Kaadu ribs originally had a purple cabbage slaw and a berry muffin. The slaw has been replaced by Mac and cheese–no complaint there–I’ve had it with the Tip Yip chicken which has been improved upon in the last year. But this Mac and cheese today was a runny mess. And the berry muffin has been replaced by a sponge bread that was ugly and stupid tasting. I was hungry, and it left me unsatisfied, though I always leave room for dessert, which was the Black Spire Mousse, a sort of white chocolate Jogan Fruit creation on top of a brownie pistachio brittle. It at least counterbalanced the spice of the ribs when there was no muffin to do so.

But never mind this, we headed on to the attraction with a 25 minute wait. When we arrived to the pre show with Hondo Ohnaka, the changes were subtle, but important to what lay ahead. Prior there was an arrangement with Chewie to use the Falcon in helping to fund the resistance by acquiring some Obtainium. In this instance Chewie was simply parking the car so to speak and leaving the keys with our favorite intergalactic pirate. Hondo then tells us we have a new plan as we head toward the ship.

We join the boarding plank and are invited to join four others on this journey. That designates us as Engineers in the back which you’ll see was fortunate. Before we enter the cockpit and get strapped in Hondo introduces us on the video monitor to The Mandalorian and Grogu who then outlines our new mission.

We go into light speed quickly and head out to Tatooine to sneak upon these guys in canyons similar to what you see during the pod race. As Din Djarin is trying to figure out our next steps we see on our cockpit monitors that Grogu has decided to hit the buttons. That fires rockets at the ships and the three vessels scatter in different directions. As Engineers we put on a homing signal onto the three ships, only to find out that they have fled in three different directions in the cosmos. And as engineers, you get to choose which of those three locations to go in. Suddenly being an engineer is cool There are three choices: The buttons say Bespin, Coruscant or Endor. I chose them in that order, riding three times in a row utilizing single rider, and being designated as the Engineer.

On the cloud City of Bespin, you chase an Imperial officer through the skies of Cloud City, dodging freighters and TIE fighters. I love the Cloud City of Bespin in The Empire Strikes Back and quickly make the choice. Here you indeed go in and around the Cloud city seeing how that plays out in more detail then you get in the film when you watch Empire Strikes Back.

On Coruscant, you work together to hunt down a Sentinel Assault Shuttle. This is very much like Episode II Attack of the Clones where chases occur in the craziness of this busy city at night.

And on Endor, you might expect that you’re going to find a forest location along with fuzzy little Ewoks. but that’s the moon of Endor. Instead, as a crew you navigate the debris field of the second Death Star that was blown up in Return of the Jedi, tracking a Trandoshan pirate hiding in the wreckage.

With this the visuals have apparently been enhanced using new graphics cards from Unreal Engine. Also they’ve changed moving from Unreal Engine 4 to Unreal Engine 5, thus making the environments theoretically much richer and higher in fidelity. With this there is supposed to be multiple routes within each destination once you have arrived to that location. So not only do you have choices as to which of three locations to go to, but you have multiple routes within each location.

Finally, I’ve heard from my friend Nic that apparently the look and feel of each locations has been textured to be more like the films of the 1970s. I haven’t quite documented that, but it sounds very probable.

I like all three choices I have as an engineer, but I found the Endor experience more engaging. That said, when I walked off the attraction the first time I asked my daughter what she thought about the whole of it. Earlier, when I asked her about the movie, she noted how much better it was than she originally thought. But here after riding the attraction she said the very thing that I was thinking, that the graphics did not look good. And yet I’ve listened to other podcasts and videos have not made any similar claim. I have to admit I was trying to take shoot two videos at the same time using also my meta glasses. But my daughter didn’t want to get into the single rider line again and ride it. She sat out.

And with going on it three times I was present with three different groups of people. And I have to admit they had a really good time.

To that end, I’ve created a video on YouTube and it shows you what all three experiences look like when you jump off into hyperspace. So check it out, and be sure to Like and Subscribe!

Stuff to Note

Here are some other points of interest:

• Pilots seem to have more latitude as they drive through this experience. This is particularly true in the first Tatooine scene where there is space in the canyon’s you are flying through. Consider it as more of a practice run before you get into one of the three choices later on.
• You get to go into light speed not twice but three times with this new version.
• You fly in and out of Batuu but it’s a shorter experience, and you’re not set up to hit the rock as you climb out at the beginning and come back at the end.
• The Mandalorian provides most of the direction during the ride. His voice is lower and steadier than Hondo’s. Hondo was also more sarcastic and critical of your performance.
• You are gathering cargo, but it’s a more minor part of the whole of it. You spend much more time in dog fights as you fly through these worlds.
• There is a Grogu track version similar to the Wookie version. But you are already having a lot of time with Grogu on your screen, and apparently the engineer can press his fourth button and see Grogu directly during the experience.
• There was music in the original attraction, customized largely by John Williams for this land. In the new versions you hear familiar Star Wars themes. It is much more tied to the original musical selections.

All in all I can’t say yet that this is a better attraction. I need to go back on it again several more times. That said, I do think it’s a better gaming experience for sure. And while I’m not a gamer per se, I’m intrigued enough to want to get back in the pilots chair to see how well it works. I think Imagineers have tried to really take the feedback on the first version of the ride and make something much, much better. And I have to commend them for that. That said, even though we show familiar scenes from the original Star Wars films, I also think it sits marketing wise in the shadow of the Mandalorian and Grogu movie, and so its ultimate success is somewhat dependent on how people respond at the box office. I hope word of mouth favors these changes.

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Thanks for joining us for this podcast. Know that as in the title of my organization, Performance Journeys, it’s as much about the journey as it is about performance. Find the second star to the right, and keep going straight on till you reach it. Follow the compass of your heart, and know that with a smile and a song, a little faith, effort and pixie dust, your dreams can come true. After all, if we can dream it, we can do it. Until next time, bright suns, we’ll see you real soon!