‘Mandalorian’ Tops Parrot Analytics’ TV Demand Charts for 3rd Week

The Disney+ “Star Wars” series “The Mandalorian” remained at No. 1 on not only Parrot Analytics’ digital exclusives rankings the week ended Dec. 7, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital exclusive” is Parrot’s term for a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video, Hulu or Disney+.

For the week, “The Mandalorian” registered 118.9 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 10% in expressions compared with the previous week.

DC Universe’s “Titans” stayed at No. 2 on the digital exclusives chart, with expressions down 13% to 74.7 million. The finale of the second season was released Nov. 29.

Netflix’s “Stranger Things” remained No. 3, registering 73.8 million expressions, down 3.4% from the previous week.

Netflix’s “The Crown” remained at No. 4 on the exclusives chart, with expressions down 21.2% to 37.5 million.

Another Netflix series, “Lucifer,” stayed at No. 5, its expressions down 7.7% to 29.1 million.

Amazon Prime Video’s “The Marvelous Mrs. Maisel” jumped up from No. 57 to No. 6, with expressions up 126.4% to 27.7 million. The third season of the Award-winning series was released Dec. 6.

DC Universe’s animated “Harley Quinn” placed at No. 9 after premiering Nov. 29, up from No. 47. Expressions rose 97.9% to 27.4 million.

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The Demand Expressions metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital exclusive original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

‘Mandalorian’ Tops Parrot Analytics’ Global In-Demand Charts

After just three weeks since its Nov. 12 debut on the new Disney+ subscription streaming service, the live-action “Star Wars” series “The Mandalorian” is the most in-demand series in the world, according to data tracking firm Parrot Analytics.

The show has already been the top series in the United States for the past two weeks according to Parrot’s proprietary “demand expressions” metric, toppling a 21-week run by Netflix’s “Stranger Things.”

Parrot Analytics’ measurement of demand for television shows includes social media engagement, video streaming and peer-to-peer protocols, photo sharing, blogging, and research platforms.

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For the week ended Dec. 1, “The Mandalorian” was 31.9 times more in-demand than the average title on a global basis. In comparison, Netflix’s “The Crown,” which just launched its third season, achieved 15 times the average, “Stranger Things,” which hasn’t had a new episode since July, registered a 18.9 multiplier. Among network and cable series, the CW’s “The Flash” was at 21.6 times, and HBO’s “Game of Thrones” managed 28.3 times.

“The Mandalorian” is also in the running for the Most In-Demand Series Debut in the World at the upcoming Global TV Demand Awards. Other contenders in this awards category include Amazon Prime Video’s “The Boys,” Netflix’s “The Umbrella Academy,” Apple TV+’s “See” and the HBO miniseries Chernobyl.

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Taking place Jan. 21 at the NATPE: Miami conference, Parrot Analytics’ Global TV Demand Awards honors the most in-demand shows of 2019. In addition to the Most In-Demand Series Debut category, other categories include: Most In-Demand TV Show in the World, Most In-Demand Digital Original in the World, Most In-Demand Drama Series in the World, Most In-Demand Comedy Series in the World, Most In-Demand Documentary Series in the World, Most In-Demand Variety Series in the World, Most In-Demand Reality Series in the World, Most In-Demand Superhero Series in the World, Most In-Demand Export From Latin America, Most In-Demand Export From Asia, and Most In-Demand Export From Europe.

The winners of the 2nd Annual Global TV Demand Awards will be determined based on demand data from Jan. 1 to Dec. 31, 2019.

 

‘Mandalorian’ Tops Parrot Analytics’ TV Demand Charts for 2nd Week

The Disney+ “Star Wars” series “The Mandalorian” remained at No. 1 on not only Parrot Analytics’ digital exclusives rankings the week ended Nov. 30, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital exclusive,” previously known as a “digital original,” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video, Hulu or Disney+.

For the week, “The Mandalorian” registered 132.3 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 31.9% in expressions compared with the previous week, when it had 100.3 million expressions.

DC Universe’s “Titans” rose a spot to No. 2 on the digital exclusives chart, with expressions up 20.6% to 85.9 million. The finale of the second season was released Nov. 29.

Netflix’s “Stranger Things” dropped to No. 3, registering 76.3 million expressions, down 6% from the previous week.

Netflix’s “The Crown” remained at No. 4 on the exclusives chart, with expressions up 14.2% to 47.6 million.

Another Netflix series, “Lucifer,” climbed a spot to No. 5, its expressions up 6.7% to 31.6 million.

Netflix’s “The Dragon Prince” jumped up from No. 57 to No. 6, with expressions up 158.3% to 31.1 million. The third season of the animated series was released Nov. 22.

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The Demand Expressions metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital exclusive original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

‘Mandalorian’ Climbs Past ‘Stranger Things’ to Top of TV Demand Charts

The Disney+ series “The Mandalorian” took over the No. 1 spot on not only Parrot Analytics’ digital originals rankings the week ended Nov. 23, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital original” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video, Hulu or Disney+.

Set in the “Star Wars” universe, “The Mandalorian” tells the story of a bounty hunter who takes a personal interest in his latest job. It is the flagship series of the new Disney+ streaming service, which launched Nov. 12. “The Mandalorian” had climbed to No. 3 on the digital originals charts after the service made available its first two episodes, which introduced a character that quickly became the subject of a popular Internet meme that no doubt influenced the series’ rapid rise to No. 1 after the Nov. 22 release of the third episode.

For the week, “The Mandalorian” registered 100.3 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 151% in expressions compared with the previous week, when it had 39.9 million expressions.

Netflix’s “Stranger Things,” which had been comfortably nestled in the top spot for 21 straight weeks, slid to No. 2, registering 81.2 million expressions, down 20% from the previous week.

DC Universe’s “Titans” dropped to No. 3 on the digital originals chart, with expressions up 24.8% to 71.2 million. The finale of the second season will be available starting Nov. 29.

Netflix’s “The Crown” returned after a two-year hiatus and a new main cast, with all 10 episodes of the third season being available Nov. 17. As a result, the series jumped to No. 4 on the originals chart, from No. 22 a week earlier, as expressions rose 134% to 41.7 million.

Slipping a spot to No. 4 was Hulu’s “Castle Rock,” down 1.6% in expressions to 30.8 million.

Amazon Prime Video’s “The Man in the High Castle” rose to No. 7, from No. 30 the previous week,  with expressions up 73.8% to 28.8 million. The fourth and final season was released Nov. 15.

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The Demand Expressions metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

‘Mandalorian’ Enters the Fight, But ‘Stranger Things’ Tops TV Demand Charts for 21st Week

Netflix’s “Stranger Things” remained No. 1 on not only Parrot Analytics’ digital originals rankings the week ended Nov. 16, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the 21st straight week.

A “digital original” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video or Hulu.

For the week, “Stranger Things” registered 101.6 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 2% in expressions compared with the previous week, despite the latest season of the series being available more than four months ago.

DC Universe’s “Titans” held onto the No. 2 spot on the digital originals chart, with expressions up 11.1% to 57 million.

The premiere of the new Disney+ “Star Wars” series “The Mandalorian” helped the show move up to No. 3, with 39.9 million expressions, up 108.7% the previous week, when it was No. 19 prior to the first episode debuting. So far only the first two episodes are available, and only in the U.S., Canada and the Netherlands.

Slipping a spot to No. 4 was Hulu’s “Castle Rock,” down 8.5% in expressions to 31.3 million.

Netflix’s “Lucifer” rose two spots to No. 5, with expressions up 3.8% to 26.8 million.

Subscribe HERE to the FREE Media Play News Daily Newsletter!

The Demand Expressions metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Disney+ Ranked 4th Most-Popular Streaming Service on Roku; Still Trails Netflix

After a week of operation, the Disney+ subscription streaming service is ranked as the fourth-most-popular platform on Roku, behind No. 1 Netflix, YouTube and Hulu.

With more than 10 million sign-ups in its first day of operation, in addition to free access (for one year) to Verizon mobile consumers, Disney+ hardly lacked exposure.

The $6.99 platform ranked ahead of Amazon Prime Video, Spectrum TV Plus, Sling TV and YouTube TV. It also surpassed The Roku Channel in ninth spot.

The news underscored Disney’s massive media push surrounding its foray into over-the-top video distribution while also signaling Netflix ($8.99) ongoing resilience as the streaming service to beat.

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Yet, Netflix isn’t going anywhere, especially when it comes to buzz.

Netflix’s most-popular original series, “Stranger Things”, remained atop Parrot Analytics weekly “demand” chart, besting Disney’s heavily-hyped Star Wars spin-off original streaming series, “The Mandalorian.”

Disney+ Generated 1.28 Million First-Day Tweets; 3.2 Million App Downloads

Disney’s high-profile launch of Disney+ SVOD platform may have had its technical issues out of the gate on Nov. 12, but that was more than likely due to “exceeding” demand if social media is any guide.

The $6.99 service generated 1.28 million Twitter tweets between 6 a.m. and 10 a.m. ET Nov. 12, according to ListenFirst, a social media data tracking firm.

And according to Apptopia, a Boston-based “big data” company that tracks app performance, the Disney+ app was downloaded 3.2 million times within the first 24 hours after launch.

ListenFirst, like Parrot Analytics, tracks online reactions, likes, shares, comments, retweets, keyword mentions on Facebook, Twitter, Instagram and Tumblr, among other social platforms.

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The New York-based company found that males (54%) topped females (46%) in Disney+ social media chatter, with millennials distancing Gen X at 70% and 19%, respectively.

Besides technical glitches, much of the chatter revolved around Disney+ original series “The Mandalorian,” which generated 102,000 tweets on Nov. 12 — with nearly 50% approving the “Star Wars”-themed series from producer Jon Favreau.

Again, whether “Mandalorian” tops Netflix’s “Stranger Things” in social media chatter remains to be seen. ListenFirst has the Netflix original series at No. 1 on its media chart through Nov. 10.

Top trending TV shows include HBO’s “High Maintenance,” “Shrill” (Hulu) and Netflix’s “Sense8.”

Apptopia says first-day downloads of Netflix can’t be compared to Disney+ numbers because Netflix launched its app in 2010, when streaming wasn’t nearly as big as it is today.

“But, in case you’re wondering, Netflix was downloaded 662k times yesterday, globally,” Apptopia says. “Counting just the U.S., Canada and Netherlands, that number moves to 140k.”

Viewers collectively spent 1.3 million hours watching Disney+ on launch day, Apptopia says — more than Roku and Amazon Prime Video, but still a lot less than the 6 million hours viewers in the same three countries spent watching Netflix.

Even so, Apptopia cautions, “Keep in mind Disney’s hours were potentially limited by technical issues Disney had in the early going where users could not connect to the servers.”

One viewer who signed up shortly after Disney+ launch, Keila Arnold of Carlsbad, Calif., said, “It was crashing a lot when I was using it earlier, but besides that it’s great.”

Disney claims that Disney+ signed up more than 10 million subscribers on day one, although that number includes those who signed up for a seven-day free trial.

The studio in a Nov. 13 news release noted that “moving forward, there are no plans to release Disney+ subscriber data outside of The Walt Disney Company’s quarterly earnings calls.”

 

‘The Mandalorian’ Gives Disney+ Early Streaming Edge Over Apple TV+ Programming

The streaming wars have begun and early returns suggest Disney’s $6.99 branded subscription streaming service, Disney+, scored the first programming hits in comparison to Apple TV+ ($4.99).

“The Mandalorian,” the Disney+ exclusive “Star Wars”-themed original series, generated nearly 20 million “demand expressions” on its first day of release (Nov. 12), according to Parrot Analytics. That was nearly five times the first-day “demand” for the high-profile Apple TV+ series “The Morning News,” with 4.3 million “expressions” on Oct. 30.

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“Morning News” features Jennifer Aniston and Steve Carell’s return to episodic TV. The series also stars Reese Witherspoon.

Parrot, which compiles its weekly proprietary “expressions” yardstick across social media posts, chatter and related metrics, disclosed the data to Business Insider.

The data does not necessarily reflect actual viewership numbers, including time spent streaming programming. Disney and Apple have not disclosed that information.

“Mandalorian” from producer Jon Favreau, bested Apple’s entire original programming slate, which includes “For All Mankind” (11.6 million expressions); “Dickinson” (8.4 million), and “See” (6.2 million).

It remains to be seen if “Mandalorian” bested Netflix’s “Stranger Things,” which has topped Parrot’s digital originals chart for 20 consecutive weeks.

Disney+ First Impressions

The Nov. 12 launch of the new Disney+ streaming service has made quite an impact its first day, lighting up social media with several trending topics.

The chatter began almost as soon as the app became available in the U.S. around midnight, with users prancing around the site eager to discover all the goodies Disney was bringing us, in terms of both highly anticipated originals and a few new surprises.

My own experience began with pulling up the app on my PlayStation 4. The login required an email authentication but the process was only hampered a bit by Disney’s push to unify all its online services under a unified account, requiring me to change my password from what I had set up when I preordered Disney+.

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At first blush, the well-designed site offers a relatively easy user interface that isn’t too unlike Netflix’s, with lots of recommendations and genre groupings to stumble onto, but not as in your face about it (though the clustering of some of the videos does present a few oddities here and there). The platform’s five main categories — Disney, Pixar, Marvel, Star Wars and National Geographic — are put up top for easy access.

As far as I was concerned, I came for the “Star Wars” but was quite amused by some of the other offerings. Not unlike the collector navigating all the youngsters at the Disney Store just to pick through exclusive Marvel and Star Wars merchandise. Make no mistake, though, this is a family-friendly platform and should please many a parent looking to keep their kids distracted.

In the early goings, the platform wasn’t without the occasional technical glitches, unsurprising given what had to be a healthy early volume of first watchers. A had a few instances of the app dropping service that was widely reported online. A few times the video would stall as the audio continued, then would reset to a few seconds back as the buffer adjusted. All-in-all, relatively minor hiccups in an otherwise smooth viewing experience.

To browse the content, there’s an account menu (off to the left on the PS4 app, up top on the website) for searches, or to just look through all the original content, movies or TV shows the site offers.

Another surprise: DVD-style bonus material. While most of these extras, when offered, are simply trailers for the given movie or TV show, some have a lot more, such as audio commentary, featurettes and deleted scenes.

Of note, Avengers: Endgame has deleted scenes that weren’t released with the Blu-ray or digital download versions, including Tony Stark meeting his future daughter (the selection seems to change depending which device is playing the app — the phone app has the scene while the PS4 version just has the scene with director’s commentary).

The original content is quaint so far. “The World According to Jeff Goldblum” is just as quirky as the premise would imply, with the actor delving into the history of sneakers in the first episode. Fans of the company’s storied legacy will enjoy a new documentary series about the Imagineers who built Disneyland and subsequent theme parks. The live-action Lady and the Tramp remake seems cute for what it is (and, for those curious, the Siamese cat song has been replaced with something less likely to be seen as racially insensitive).

The Siamese cat song is still in the original animated Lady and the Tramp, which is offered unaltered alongside other animated classics such as Dumbo and Peter Pan that contain content now deemed “problematic,” though with a disclaimer that they contain “outdated cultural depictions.”

For all the obscure titles Disney pulled from its vault to stock the site, fans like me of the studio’s history might find it amusing what isn’t here. And I’m not talking about Song of the South, which at this point may never see the light of day with an official re-release again.

There are still a lot of old TV shows and movies that Disney could mine. For example, Conderman isn’t here, or the studio classic So Dear to My Heart, both of which are subjects of exclusive disc releases from the Disney Movie Club. The 1961 The Parent Trap is here, but not its three 1980s TV movie sequels. The five “Herbie: The Love Bug” theatrical movies are prominent fixtures, but not the 1997 TV remake of The Love Bug, or the five episodes from the 1982 spinoff TV series.

My guess would be what’s on the site is a factor of availability in high-definition, as some of the older movies that have been released on DVD only, as opposed to Blu-ray, or that have never been released on home video at all are the most notable absences. The HD factor is probably why the site is only offering the widescreen versions of the early seasons of “The Simpsons,” even though the show was produced in 4:3 and cropping for widescreen cuts out many sight gags.

As a record of Disney history, the site also offers a few curiosities. Under the search function, there’s a “Disney Through the Decades” category, which offers selections of Disney movies and cartoon shorts grouped by the decade of their release. What’s a bit dubious here is how Miracle on 34th Street is listed in the 1940s section. Likewise, The Sound of Music is under 1960s and Home Alone is listed in 1990s. These were not made by Disney, but acquired by the studio when it purchased Fox. Similarly, the original Star Wars is listed under the 1970s Disney category, and The Empire Strikes Back with the 1980s. Perhaps Disney is simply retroactively declaring some of the family friendly Fox films to be Disney films in spirit? (It brings to mind in the 1980s when Roger Ebert famously opined that the “Star Wars” movies were the types of films Disney should be making. He also predicted after Revenge of the Sith that “Star Wars” was profitable enough that someone would start making new movies without George Lucas).

Speaking of “Star Wars,” Disney has added the Fox fanfare back to the original six films where it had removed them for their digital download release a few years ago (except for the original film, Episode IV, which always had the fanfare because Fox controlled its distribution in perpetuity). This is a nice nod to the history of the franchise, although I wish they had added the fanfare to the Disney-produced movies such as The Force Awakens, just for kicks and a little consistency (assigning distribution to its now subsidiary Fox studio, as it were). But alas.

The first six movies are offered in 4K with Dolby Vision for the first time, as they haven’t been released on 4K Ultra HD Blu-ray yet. With this, the notorious “Greedo vs. Han” scene from Episode IV has been tweaked yet again, which has caused quite a stir online (The alteration seems to have come from George Lucas’ efforts to remaster the films for 3D and 4K just before Disney bought Lucasfilm in 2012). Famous as the most derided change in the 1997 special-edition re-release that allowed bounty hunter Greedo to get a shot off at Han before being blasted by the rogue pilot, the latest version cuts to a close-up of Greedo saying something that sounds like “Maclunkey” in untranslated Huttese before getting blasted. The alien phrase has appeared in canon before, loosely translating to “This will be the end of you.”

However, the buzz about the new scene naturally started the #Maclunkey trend on Twitter and gave rise to what is probably the first Disney+ meme.

Not to be outdone, the new “Star Wars” series “The Mandalorian” debuted its first episode, with its second episode bowing on Friday, which will be the day new episodes drop going forward. (See review here).

The show comes with slick a new “Star Wars” brand logo, as well as a gritty tone that harkens back to the rustic qualities of the early “Star Wars” films. There are even references to The Star Wars Holiday Special (another ‘movie’ notably absent from the Disney+ menu, by the way).

The Mandalorian: Chapter 1

STREAMING REVIEW:

Disney+;
Sci-Fi;
Stars Pedro Pascal, Carl Weathers, Nick Nolte, Werner Herzog, Omid Abtahi, Taika Waititi, Horatio Sanz, Brian Posehn.

This is a great start for a series that promises to inject some of the old-school excitement back into the “Star Wars” brand that seems to have leaked out a bit from fan reactions to Disney’s movie efforts.

Executive producers Jon Favreau and Dave Filoni are throwbacks to the pre-Disney days of Lucasfilm, having worked on the “Clone Wars” animated series, and have a solid grasp on “Star Wars” canon. So much so that many fans believe they should have been given the reins to the continuing movie franchise instead of the divisive J.J. Abrams and his penchant for mystery-box storytelling and visual splendor over substance.

The first episode comes rife with references to classic “Star Wars,” including a few nods to the infamously bad 1978 Star Wars Holiday Special.

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With its focus on the seedy underbelly of the “Star Wars” universe and the bounty hunters who operate within it, the show feels a bit like a Clint Eastwood Western, centered on the mysterious, masked and unnamed Mandalorian, who is just trying to make ends meet with the meager bounties that come his way. The “space Western” vibe brings to mind Joss Whedon’s “Firefly,” itself heavily influenced by “Star Wars.”

For those who don’t know, the Mandalorians in canon are a proud warrior race whose planet has been hit hard by war over the centuries. Set shortly after the fall of the Empire in Return of the Jedi, the show implies that clusters of downtrodden Mandos have spread like refugees across the galaxy seeking to reclaim their heritage where they can.

As such, for his latest job the Mandalorian takes a payment of rare Beskar steel, the powerful alloy used to construct the legendary Mandalorian armor (which fans will recognize as similar to the armor worn by Boba Fett).

The Mandalorian’s mission here, after being hired by a former Imperial functionary (played by Werner Herzog), is to recover someone from a mercenary stronghold. The identity of the target is but one of many surprises this show no doubt has in store for us.

Along the way, he encountered the bounty hunting droid IG-11 (voiced by Taika Waititi), and the pair join forces for a fantastic fight sequence that most fans will equate to an approximation of a team-up of classic trilogy characters Boba Fett and IG-88). And for longtime fans with any familiarity with the expanded “Star Wars” universe, it’s just great to see the bounty hunters in action.