Still, series creator Jon Favreau and collaborators Dave Filoni and Robert Rodriguez clearly had plenty of action figures with which they wanted to play, all while maneuvering to reunite the central duo from “The Mandalorian.”
One recurring theme in “Book of Boba Fett” sought to showcase residents of Tatooine that played minor roles in the original trilogy in a different light. Here, that included Boba’s (somewhat) tamed Rancor monster joining in the final battle, which followed the more sympathetic view of the Tuskens during Boba’s time with them in earlier episodes.
Despite rousing moments the series couldn’t entirely overcome its awkward structure, which underscored that “Boba Fett” existed as an offshoot of “The Mandalorian.” The final episodes thus went about the task of bringing that title character back together with Grogu, a.k.a. Baby Yoda, after he had found a new home and destiny under the tutelage of Luke Skywalker. (An encore appearance by Mark Hamill, along with Rosario Dawson as Ahsoka Tano, elevated “fan service” to almost giddy extremes.)
While that term is usually evoked derisively, Favreau and Filoni have embraced the idea of giving the audience what it wants — less out of a sense of obligation than because that’s what they want to see too.
Given the tone of these shows, think of this as a very expensive “B” western. As for those who might have been skeptical whether Boba Fett, given his limited screen time through the years, could sustain his own program, the way “The Book of Boba Fett” unfolded, for better and worse, basically rendered that question moot.
