They're short, quick, and easy. I get to eat what amounts to a bowl of sugar.
As a special holiday treat, I am reviewing Kellogg’s The Elf on the Shelf “Vanilla Candy Cane Cookie with Marshmallows” Cereal (that was a mouthful). The logo on the box reads “OFFICIAL CEREAL OF THE NORTH POLE”... (that’s a bold claim).
I tend to enjoy the various peppermint-themed Christmas foods. Peppermint stick ice cream is one that immediately comes to mind.
I was hoping this would be the cereal equivalent of peppermint stick ice cream. It “kind of” is.
The cereal itself features grain-based stars and peppermint marshmallows (little ones, like the mallows featured in hot chocolate mix).
I tasted a star and a marshmallow by themselves to begin. Honestly, I was a bit underwhelmed. I was expecting them to have a solid mint taste (like a Peppermint LifeSavers Candy).
Instead, I was faced with something much more “muted.” The star didn’t have much flavor, and the marshmallow was too small to make an informed judgment. At that point, I wasn’t sure what to expect.
Then I added milk to the bowl and ate a spoonful. The effect was better, and tasted more minty (it still wasn’t quite what I was hoping for).
The box doesn’t feature any games or activities, but there is a “story” (done to “‘Twas the night before Christmas”) telling how the cereal was made.
The site has a page for “Parents” with information on the cereal (they also have Kellogg’s The Elf on the Shelf “Sugar Cookie Cereal with Marshmallows” Cereal). You can also select a “Kids” page that has games and activities.
Overall, Kellogg’s The Elf on the Shelf “Vanilla Candy Cane Cookie with Marshmallows” Cereal was alright, but nothing spectacular. I don’t think it is worthy of becoming a Christmas tradition...
I will say that it is the first Christmas-themed cereal I have sampled, so I’ll have to sample some new ones next year.
Until my next cereal review, I hope those of you celebrating have a very Merry Christmas!
What a spectacular finale for the second season of “The Mandalorian.”
Having reviewed all 15 previous episodes on this blog, I’ve wondered where this story would go. Would the creators *stretch out* the search for a home for Baby Yoda (Grogu) indefinitely? Or would that storyline reach a resolution sooner rather than later?
In “Chapter 16: The Rescue,” we get what appears to be a bantha-sized answer to that question.
The episode starts out with Slave I (Boba Fett's ship) chasing down an Imperial Shuttle (a design first introduced in 1983’s “Star Wars: Episode VI – Return of the Jedi”).
The shuttle is carrying Dr. Pershing (Obid Abtahi), the doctor who has run experiments on Grogu for Moff Gideon (Giancarlo Esposito).
An aside here... have I mentioned how cool Slave I is? I remember wanting the Kenner version of this ship when “Star Wars: Episode V – The Empire Strikes Back” was released in 1980, but never got it as a kid.
Back in the 1990s, Kenner re-released the ship (based on the original toy’s design and molds) as part of their “Shadows of the Empire” collection (based on a “Star Wars” novel that was released during my final semester at the University of Nebraska at Omaha).
So I picked up the refreshed Slave I ship for myself, and recently reacquired it from storage when Bridget and I cleaned out my dad’s house last summer.
Here’s my Slave I from my extensive “Star Wars” collection (mint in box):
Anyhow...
Boba Fett (Temuera Morrison) temporarily disables the Imperial shuttle with Slave I's ion cannon, allowing his companions Din Djarin (Pedro Pascal) and Cara Dune (Gina Carano) to board the ship. This allows them to grab Pershing and requisition the ship (more on that later).
After the snatch-and-grab, our heroes travel to a planet (it looks relatively rural) to find Mandalorians Bo-Katan Kryze (Katee Sackhoff) and Koska Reeves (Sasha Banks) and ask for their assistance in rescuing Grogu.
Sackhoff is one of my favorite actresses these days, and it was nice to see a return appearance this season.
Bo-Katan is reluctant at first, but warms up to the idea when she learns she has a chance to face Moff Gideon, capture the light cruiser he commands, and re-obtain the “Darksaber” from his evil clutches (all part of her effort to retake Mandalore).
So, Mando, Fett, Bo-Katan, Koska, Dune, and Fennec Shand (Ming-Na Wen) hatch a plan to infiltrate Gideon’s vessel. Dr. Pershing informs the group about the dark troopers on board — and that they are third generation units that no longer have humans inside.
So far, so good. I liked the setup. I like a good “men and women on a mission” storyline — especially in “Star Wars.”
It’s an entertaining scenario. In many respects, the use of an Imperial Shuttle to infiltrate an Imperial stronghold echoes a similar move in “Return of the Jedi.”
The ruse is designed around Boba Fett chasing the shuttle in Slave I. As the plan progresses, he finds himself being chased by a pair of TIE Fighters. I thoroughly enjoyed all of this, including Ludwig Goransson’s terrific musical stylings.
The Imperial Shuttle (piloted by Bo-Katan) eventually makes it through, and “emergency lands” in the TIE Fighter launch tube.
I just want to say how completely cool it is to see TIE Fighters launching this way. More often than not, we don’t get to glimpse TIEs exiting a ship — they just sort of appear in a space battle.
It kind of reminded me of Viper ships launching via tubes in “Battlestar Galactica.”
I also want to say how entertaining the remaining scenes in the episode prove to be.
Cara, Fennec, Koska, and Bo-Katan launch their assault to gain control of the bridge, distracting the Imps so Mando has an easier path to the brig as he tracks down Grogu.
There are a number of kinks in the plan, including the fact that Mando has to go by the storage bay for the dark troopers on his way to the brig.
If you like action, you liked this episode. I mean, does it get any better than blaster battles against stormtroopers in steely-metal corridors??
Our heroes inevitably have to do battle with the dark troopers. Ever since they were teased in Chapter 12, I’ve been curious to see their capabilities.
They didn’t disappoint.
The dark troopers have the ability to fly and are resistant to blaster fire. Mando gets to experience one of the metallic soldiers firsthand on his way to Grogu — only having success when he disables it with his Beskar spear.
It always fascinates me when prequel content introduces technology that seems superior to the tech found in later movies. I felt that way when I watched George Lucas’s prequel movies back in the day, and I felt that way again when I saw the dark troopers in action.
Why didn’t the First Order have these things (or some improvement on the technology) in the sequel trilogy? Why go back to plain old stormtroopers when you can have something better??
(I’m not complaining at all... I just always find that an interesting narrative tactic.)
Mando launches the remaining troopers into space. I must admit, when I first saw the dark troopers, they reminded me a bit of Maximilian in the “The Black Hole,” Disney’s 1979 entry into the sci-fi movie craze.
I thought the all-female team assaulting the bridge was badass. If those four characters end up being the basis for the “Rangers of the New Republic” series announced by Disney, it could be really terrific.
Mando ultimately makes it to the brig and finds Moff Gideon holding the Darksaber over Grogu.
Gideon has proven himself a capable antagonist in “The Mandalorian.” Part of the appeal is Giancarlo Esposito’s smooth and convincing performance.
The Darksaber brings power to the one who holds it. That’s why Bo-Katan wants the saber — whoever wields the sword “has the right to lay claim to the Mandalorian throne.”
Din Djarin just wants the kid back.
But Gideon isn’t going to let go that easily, and the two eventually end up in a duel — Gideon wielding the saber; Mando with the Beskar spear.
Mando disarms the Imperial, and takes Gideon and Baby Yoda to the bridge.
Unfortunately, Bo-Katan needed Gideon to surrender to her to rightfully claim the Darksaber — so she could take back control of Mandalore. Djarin doesn’t want it and offers it to her, but she won’t accept.
What’s interesting about this is that Bo-Katan accepted the Darksaber from fellow Mandalorian Sabine Wren in “Star Wars Rebels” (which takes place five years prior to “Star Wars: Episode IV – A New Hope”) in the episode titled “Heroes of Mandalore: Part 2” (read my review of “Star Wars Rebels”).
It’s not the first contradiction to appear in “The Mandalorian,” and I’m sure there will be an explanation for the change (for example, maybe Bo-Katan wanted to lay claim to the saber in a more legitimate way as she attempts to retake the planet).
We also don’t know how Gideon obtained the Darksaber in the first place.
Regardless, it does create an interesting scenario for Din Djarin going forward. The reluctant hero obviously has little interest in the geopolitics of Mandalore, and doesn’t desire to be the leader of the various Mandalorian factions.
But that might make him the perfect one for the job.
The dark trooper platoon that Mando launched into space returns to the ship. Because they are droids, they are none worse for the wear. Our heroes aren’t sure what they will do to fend off the shiny metallic troops.
“I think we all know after a valiant stand, everyone in this room will be dead, but me and the child,” chirps Gideon as the dark troopers start to “punch” their way into the bridge.
Like the arrival of Santa Claus on Christmas Eve, an X-wing starfighter pops into view and is picked up by the Imperial cruiser’s systems.
At this point, you’re hoping it isn't a recently seen X-wing pilot, like Trapper Wolf (Dave Filoni) or Carson Teva (Paul Sun-Hyung Lee) — the New Republic equivalent of officers Frank Poncherello and John Baker on “CHiPs.”
Those two dudes wouldn’t stand a chance.
I think every “Star Wars”-loving fan knew it was Luke Skywalker (Mark Hamill). I’ve got to say, it was a great introduction for the character.
The cloaked and shadowy Skywalker slices and dices the darktroopers with his green lightsaber and the Force.
I’m so glad to see that green saber again. I still don’t understand why Luke/Anakin’s blue lightsaber appeared in “Star Wars: Episode VII – The Force Awakens” — it was LOST in Cloud City when Vader chopped off Luke’s hand.
I know some fans didn’t want Skywalker to be “the Jedi” that came to find Grogu. They would have preferred it to be one of the Jedis mentioned in one of the other “Star Wars” properties.
I liked it.
During Skywalker’s march to the bridge, Gideon tries to kill Bo-Katan and himself. He ultimately fails in that task (I think he’ll be causing trouble for episodes to come).
As much as “The Mandalorian” is a fresh take on “Star Wars,” it is also proving itself to be “sequel” content that “Return of the Jedi” really deserved.
Skywalker ulimately takes Grogu under his wing. Sometimes computer-generated “de-aging” efforts look fake and stilted (to be honest, I never think the mouths move correctly). While this effort on Luke was far from perfect, I thought they did a good job.
Anyhow, there are some terrific “nods” to previous “Star Wars” movies during this sequence — as Din Djarin says goodbye to Grogu.
First of all, Mando says “I’ll see you again. I promise” as he is about to hand Grogu to Skywalker.
It reminded me of the moment in “Star Wars: Episode V – The Empire Strikes Back” when Luke was leaving Yoda (Frank Oz) — and Obi-Wan’s Force ghost (Sir Alec Guiness) — on Dagobah and he said, “I will return. I promise.”
It was great to see Mando remove his face shield in this scene, so he could look at Grogu without the mask.
Then Din says, “All right, pal. It’s time to go. Don’t be afraid.”
At that moment I recalled the scene in “Star Wars: Episode I – The Phantom Menace” when Anakin (Jake Lloyd) was leaving his hovel (and his mother Shmi) on Tatooine to go be trained as a Jedi.
Anakin’s mother says, “Be brave, and don’t look back.”
It is pretty cool to think about Luke training Baby Yoda the way Yoda trained him.
Some fans were concerned that this was the *final* episode of “The Mandalorian,” thinking the handoff of Grogu meant that the series was at an end.
The reality is that “The Mandalorian” will be returning for another season, but it is understandable why some fans were confused. As much as the show is about the journey of Din Djarin, it is also about the journey of Grogu.
We haven’t seen the last of either character.
Let’s face it, Disney isn’t going to surrender millions of dollars in merchandising revenue from Baby Yoda.
And, “The Mandalorian” is the show that is keeping subscribers hooked to Disney+ at the moment.
Some have suggested that actor Sebastian Stan (Bucky Barnes in the Marvel Cinematic Universe) would be perfect as a young Luke Skywalker in a series about the training of Grogu.
That would definitely be interesting. In the 1990s-era “Star Wars” novels, Skywalker starts a “Jedi Academy” to train Jedi (the “Jedi Academy Trilogy” by Kevin J. Anderson was one of my favorite series back then). That could be an interesting basis for a show.
Anyway, the overall quality of the Season 2 finale of “The Mandalorian” was terrific. It was written by Jon Favreau and directed by Peyton Reed (who I praised in my review of “Chapter 10: The Passenger”). I’m excited to see where things go from here...
So, let’s talk about the “easter egg” at the end of the closing credit sequence...
Seeing an obese Bib Fortuna (the Twi’lek being played by Matthew Wood this time around) sitting at the head of Jabba the Hutt’s palace throne room on Tatooine was excellent.
I know most “Star Wars” fans favor “The Empire Strikes Back” as being the best of the original trilogy, but my favorite as a kid was 1983’s “Return of the Jedi” — and I saw it 13 times at Indian Hills Theater (on the big “Cinerama” screen) here in Omaha.
In the easter egg, we see Fennec Shand entering the throne roam, shooting a Gamorrean guard as she descends the stairway. She then shoots down the rest of Fortuna’s “entourage” (the exception being a Twi’lek slave dancer).
Then, Boba Fett walks into the room.
Despite some rapid banter by Fortuna, Fett shoots him with his blaster. He walks up to the dais, tosses Fortuna aside, and takes a seat on the throne.
Shand retrieves a bottle of Spotchka (a blue drink made from Krill), and perches on the arm of the throne by Fett’s right hand.
The scene cuts to black, and the words “The Book of Boba Fett Coming December 2021” appear.
I am so flipping excited about “The Book of Boba Fett” limited series coming to Disney+ next December.
We’d heard rumors about a Fett-centric show, and I’m glad we are going to get one. I think there are a lot of really cool opportunities to delve more fully into the world of galactic bounty hunters and the underworld in the SW universe.
This teaser was part of what left fans confused as to the future of “The Mandalorian,” but series creator Jon Favreau addressed that in an interview on ABC’s “Good Morning America.”
I just think we are going to be treated to some really interesting “Star Wars” properties in the next few years. Disney teased a number of them at “Disney Investor Day 2020,” and I have a blog post with my thoughts on those shows coming soon.
I just want to close this blog post by thanking those of you who like and comment when I share these reviews on social media. It means a lot to me, and I really enjoy being able to chat with fellow fans about each of “The Mandalorian” episodes after they stream each week.
It does kind of suck that fans have to go into “standby mode” for awhile and wait to learn the fates of Mando and Grogu. I’m looking forward to seeing where Favreau & Co. take the “Star Wars” franchise from here — this is the best the franchise has looked in a long, long time.
It’s hard to believe the seventh episode of Season 2 of “The Mandalorian” is already here. It is titled “Chapter 15: The Believer.”
The penultimate episode means there is only one episode left this season.
The events of the previous episode (read my review) left fans with a lot of questions, and left Mando (Pedro Pascal) on the hunt for the kidnapped Baby Yoda.
I *think* this was the first episode of “The Mandalorian” (since it debuted in 2019) that didn’t have Grogu in it at all.
Chapter 15 doesn’t give fans any answers regarding Grogu. It was teased at the end of Chapter 14 that Mando wanted to find Migs Mayfeld (Bill Burr) — a mercenary and former Imperial sharpshooter that Mando worked a job with in Season 1.
He’s currently serving a 50-year sentence in the Karthon Chop Fields for his antics in “Chapter 6: The Prisoner” (read my review).
Per Mando’s request, Marshal Cara Dune (Gina Carano) is able to wrangle Mayfeld’s release in order to help find Moff Gideon’s Imperial cruiser (where Grogu was taken).
One interesting aspect of the prison release sequence is that Boba Fett’s (Temeura Morrison) recently reacquired armor is freshly painted:
As a result, Fett looks a lot less like a “galactic ragamuffin,” but fans have come to expect some wear and tear on the suit, so it definitely gives off a “renewed” vibe for the character.
Mayfeld tells Mando, Dune, Fett, and Fennec Shand (Ming-Na Wen) that he can find the coordinates to Moff Gideon’s ship by accessing an Imperial terminal on the planet Morak.
FYI, the “terminal” looks like the “Star Wars” equivalent of an ATM, and it is housed in a mess hall in an Imperial refinery:
It does sometimes seem like they have to travel awfully great distances — and go to a lot of trouble — to track information down in such an advanced universe. But I guess I’m willing to willfully suspend my disbelief in this instance. ;-)
Before they can access the terminal, they have to find a way into the Imperial refinery.
Mando and Mayfeld commandeer an Imperial Assault Transport (“Juggernaut 5”) carrying Rhydonium, and drive it to the facility (wearing Stormtrooper armor).
The trip to the refinery turns out to be pretty entertaining as the transport is attacked by pirates on floating skiffs. Rhydonium is unstable, and Mando has to climb on top of the vehicle and fend off the pirates (who are using thermal detonators to try and blow up the Rhydonium).
This sequence of events reminded me a bit of the “truck chase sequence” in “Raiders of the Lost Ark,” and is entertaining.
By the way, when Mando and Mayfeld arrive at the refinery, we see the biggest celebratory display from Imperial Stormtroopers and officers I think we’ve ever seen. Have they ever celebrated anything? More importantly, have they ever had anything *to* celebrate?
For some reason, it reminded me of this “Star Wars” t-shirt my niece Scotland had a couple years ago. The rainbow coming out of the Imperial TIE Fighter seems to be a completely off-brand for the Empire (talk about Imperial propaganda!)... But I guess they do have moments of levity, so....
Prior to the “pirate chase,” Mayfeld decides to remove his helmet (likely so he can wax philosophical about the state of human nature in a galaxy far, far away).
What was odd to me is that he failed to put it back on. I would have assumed he would have slipped on the helmet when they successfully thwarted the pirates and made it to the Imperial refinery.
Yet, he didn’t do that. I was like, “Dude, you’re a former Imperial, *someone* might recognize you.”
This sort of reminded me of the instance in Chapter 14 (read my review) when Mando took off his jetpack, and didn’t have access to it the rest of the episode (making it easier for Dark Troopers to abscond with Grogu) — an unnecessary complication in the plot.
The helmet removal is significant because Mayfeld sees his former commanding officer, Valin Hess, (Richard Brake) sitting at a table, having a drink in the officers’ mess (where the terminal resides).
Because of that, he says he can’t go and extract the information needed from the terminal, which is located on the opposite side of the room.
Mayfeld was a field officer under Hess, and it doesn’t sound like he had much in the way of interaction with Hess. But he’s not taking the risk.
If he’d just kept his helmet on, he could have walked in (unidentified), strolled to the terminal, and removed the helmet to have his face scanned.
Instead, Mando does it for him. While we all appreciated Din Djarin’s “take charge” nature, he wasn’t well versed in the procedure. He likely ended up drawing more attention than necessary.
Furthermore, I’m not exactly sure what the “face scan” part of the procedure did anyway. You would assume such a thing would be in place to check the face against a database of “approved” users. I mean, you wouldn't just want to give secret coordinates to “anybody.”
I’m pretty sure Mando wouldn’t be on the list of approved users. If Mayfeld had done it, he would have been more likely to be in the database (a good thing or a bad thing?).
I dunno... it was sort of a problem area in the plot of Chapter 15. The writer of this episode (Rick Famuyiwa) probably could have come up with a smoother way to handle it that would have avoided these sorts of questions.
As it turned out, Hess didn’t even remember Mayfeld.
I guess it was a way for fans to see Din Djarin unmasked for the first time this season. Mando doesn’t remove his mask, so it might be the only chance to see the man behind the Beskar armor this season.
One notable bit in this sequence is when Mayfeld mentions needing to go fill out “TPS reports” to try and get Hess off their collective back. The term has been around for awhile, but I wonder if that was in reference to the movie “Office Space” (which made the term “TPS report” famous).
Anyhow, Mayfeld eventually shoots Hess, a shootout ensues, and the pair have a rousing escape from the Imperial facility.
Their companions (Fett, Dune, and Shand) assist in the effort. We get to see Dune and Shand show off their sharpshooting skills:
We also get to see Fett go toe-to-toe with a pair of TIE Fighters. It was cool to see Fett deploy one of the ship's “seismic charges” to take out the pursuing fighters:
We haven’t seen that on film since “Star Wars: Episode II – Attack of the Clones” (although, they have apparently been seen in other “Star Wars” properties).
With the coordinates in hand, Mayfeld is freed by Cara Dune (the official cover story is that he died in the Imperial refinery). I’m sure we’ll see him again on “The Mandalorian.” My prediction is that he’ll also be a regular in the recently announced Disney+ series “Rangers of the New Republic.”
At the end of the episode, Mando contacts Moff Gideon via holographic message. If you listen carefully to his words, you might notice that they echo Moff Gideon’s own words in the first season episode “Chapter 7: The Reckoning” (read my review).
In Chapter 15, Mando says, “Moff Gideon. You have something I want. You may think you have some idea of what you are in possession of, but you do not. Soon, he will be back with me. He means more to me than you will ever know.”
Looking back at Chapter 7, when Gideon arrives on Nevarro and addresses Mando regarding “The Child,” he says, “You have something I want. You may think you have some idea of what you are in possession of, but you do not. In a few moments, it will be mine. It means more to me that you will ever know."
What I like about that is the juxtaposition of the two statements coming from characters with completely different agendas.
Mando refers to Grogu as “he,” while Gideon refers to Grogu as “it.” Mando cares for Grogu in a fatherly way, caring for him like he’s a son. Gideon treats “The Child” as if he is some sort of lab animal in place to serve Gideon’s selfish needs.
“Chapter 15: The Believer” was written and directed by the aforementioned Rick Famuyiwa. He also directed Chapters 2 and 6 in the series — both episodes I really enjoyed. He’s an accomplished filmmaker in his own right, and does a solid job handling “The Mandalorian.”
I liked the fact that Chapter 15 took us to a new setting. I also liked the fact that Mayfeld had his moment of redemption — and became a more likable and relatable character as a result.
I’m really interested to see how this all plays out in the Season 2 finale. It should be an exciting episode (I’m interested in seeing which Jedi shows up in response to Yoda's “call” on Tython.)
Stay tuned for my review of “The Mandalorian”: Season 2, Episode 8!
Two years ago — way back in 2018 — I had fully intended to review Netflix’s schmaltzy rom-com “The Princess Switch.”
Oddly enough, I didn’t review the Vanessa Hudgens starrer when it debuted (it’s not an isolated incident... I have a laundry list of things I have yet to write about).
The sequel, titled “The Princess Switch: Switched Again” has now dropped on Netflix — just in time for cozy viewing with a cup of cocoa by a crackling fire (if you happen to have a fireplace... my experience saw me sipping bottled water near a furnace vent).
Since these movies feature doppelganger-driven plots, I figured this would be the perfect opportunity to review BOTH movies — a “double feature,” if you will. As a result, I watched both films back-to-back.
“The Princess Switch” tells the story of pastry chef Stacy DeNovo (Vanessa Hudgens), a Chicago-based entrepreneur who owns the shop Stacy’s Sweets and Treats (described as “the best kept secret in Chicago”).
She works alongside sous-chef Kevin Richards (Nick Sagar), a single father whose daughter Olivia (Alexa Adeosun) is an aspiring ballet dancer (she’s also Stacy’s goddaughter).
The setup is simple: Unbeknownst to Stacy, Kevin and Olivia have signed her up to compete in a baking contest being held in conjunction with a Christmas festival in the kingdom of Belgravia — that “only the best pastry chefs in the world get invited to.”
I just want to say, this is why I love these sorts of movies. Less than 90 seconds into “The Princess Switch” and I know exactly what is going on... I’m not confused by subtle exposition or vague allusions.
Our well-groomed protagonists are going to a fictional kingdom to compete in a baking competition — no muss, no fuss. I can just sit back, rest my mind, and enjoy the sugary goodness of it all.
Stacy is the perfect rom-com protagonist. She’s smart, cute, and has a perky personality. She has trouble being “spontaneous” and is trying to get over her breakup with her boyfriend, Paul. Stage set... I’m hooked.
Anyhow... Stacy, Kevin, and Olivia fly to Belgravia. They get to stay in a cottage that looks like a set from a Land’s End catalog, and enjoy the holiday charm of their bucolic surroundings.
As the trio sets up the booth on the set of the baking competition, one of Stacy’s former culinary classmates (and rom-com rival) Brianna (Amy Griffiths) bumps into her and soils Stacy’s apron with coffee.
Stacy scurries off to clean up and bumps into a woman in a sharp pink suit and skirt combo — Lady Margaret Delacourt, Duchess of Montenaro (also played by Vanessa Hudgens).
The two are perfect doppelgangers for one other. Lady Delacourt is set to marry Belgravia’s Prince Edward Wyndham (Sam Palladio) and asks Stacy if she’d like to consult on her wedding cake.
The two learn they might be distant relations, and Lady Delacourt asks for a “favor.”
The duchess is set to wed Prince Edward on New Year’s Day and decides she wants to “switch places” with Stacy for two days — to get out of the limelight.
In exchange, Margaret sponsors Olivia in Belgravia’s esteemed summer ballet program.
The prince is supposed to be away from the castle on business, but after the “switch” happens, we learn he isn’t going anywhere.
Believe me, I know it’s ridiculous... but I don’t mind at all.
The setup reminds me of “The Brady Bunch” episode “Two Pete’s in a Pod” (where Peter Brady meets a fellow student who looks just like him). There are also elements pulled from the 1961 and 1998 flavors of the movie “The Parent Trap.”
You can pretty much figure out how things unfold. The duchess falls for sous-chef Kevin; Stacy falls for Prince Edward.
As a TV cord-cutter, I don’t have access to the Hallmark Channel’s annual marathon of Christmas-themed movies. A few years ago — on a hockey trip to St. Cloud, Minnesota — we actually spent a good portion of the weekend glued to the TV in our hotel room watching Hallmark’s holiday lineup. (Bridget has actually suggested checking into a hotel — even locally — over a weekend to re-create this experience.)
Many of the movies seen on Hallmark each holiday season are produced by the Motion Picture Corporation of America (MPCA) — a company that has evolved into the leading distributor of Christmas-themed movies (for Hallmark and Netflix).
MPCA produced both of “The Princess Switch” movies for Netflix. They also produced “A Christmas Prince,” “A Christmas Prince,” “A Christmas Prince: The Royal Wedding,” “A Christmas Prince: The Royal Baby,” “Holiday in the Wild,” “The Knight Before Christmas” (also with Hudgens), “The Holiday Calendar,” and “Christmas Inheritance.”
Keen-eyed viewers will notice a number of “easter eggs” in the MPCA holiday films on Netflix referencing the other movies.
It’s a “Netflix Christmas Movie Cinematic Universe,” and this video goes into detail about all the links:
Before I traverse too far down the rabbit hole, I should probably get back on track and dive into my review of 2020’s “The Princess Switch: Switched Again.”
After all the “happily ever after” moments in “The Princess Switch,” our protagonists are back for more “switcheroo” antics in this charming followup.
“But happily ever after is never easy,” declares Princess Stacy De Novo Wyndham in the movie’s opening narration.
“The Princess Switch: Switched Again” finds Lady Margaret Delacourt dealing with a bit of crisis. Her budding relationship with sous-chef Kevin is on the skids, and she’s uneasy about her ascendancy to the throne in her home country of Montenaro.
In addition, Prince Edward and Princess Stacy are dealing with struggles of their own. The two are finding it difficult to spend time together with all of their royal duties (along with Stacy running her bake shop).
Most of the drama takes place around the impending coronation of Lady Margaret.
Stacy takes a detour to Chicago to persuade a sullen Kevin to join them in Montenaro (hoping to rekindle the flame between he and Margaret). Kevin’s daughter Olivia (played by Mia Lloyd this time out) never sent in their RSVP.
The entire setup eventually leads us to a point where Stacy and Margaret switch places again — so Margaret can spend time with Kevin while Stacy tends to her doppelganger’s royal duties.
Also competing for Margaret's affections is longtime friend Antonio Rossi (Lachlan Nieboer) who is currently advising on her royal duties.
Complicating matters in all of this is the appearance of Margaret’s cousin Lady Fiona Pembroke (also played by Vanessa Hudgens).
The down-on-her-luck Fiona has resorted to petty thievery to maintain her posh lifestyle, employing her servants Reggie (Ricky Norwood) and Mindy (Florence Hall) in her antics.
Because of her resemblance to Duchess Margaret, Fiona hatches a plan to take the throne of Montenero, hoping to loot the royal coffers and transfer a “small fortune to an unnumbered bank account in the Caymans.”
As I’m typing this, I realize “The Princess Switch: Switched Again” sounds somewhat less “sugar coated” than the first outing.
But don’t worry, it’s all silly fun. This entry is just as schmaltzy as the original, dripping with over-the-top Christmas decorations, castles, trite dialogue, and syrupy sentimentality.
That’s what I’m looking for when I watch this brand of movie.
(You’ll also want to keep your eyes peeled for a cameo featuring the leads from “A Christmas Prince” during the movie...)
Some of my fondest movie-going experiences over the years have been to see “gentle comedies” that imbue the spirit of “The Princess Switch” movies.
I remember how much I enjoyed seeing “Father of the Bride” when it was released in December 1991. Bridget and I saw a special “preview screening” of the movie with “Beauty and the Beast” at the Westroads 8 theater in Omaha.
It was a terrific double feature, and serves as a reminder that compelling entertainment doesn’t have to be “edgy and provocative” to entertain.
“I wanted so badly to be the perfect princess and do everything right that I forgot about what’s important,” Stacy tells Edward in “The Princess Switch: Switched Again.”
“The Princess Switch” movies will never be mistaken for high art — and they are far from perfect — but the stories are enjoyable and the characters are endearing.
