Review: “The Mandalorian” Season 1, Episode 6 (Disney+ Series)

SPOILERS AHEAD!

The sixth chapter of “The Mandalorian” (titled “The Prisoner”) manages to put things back on track — to a certain extent — after the events in the the fifth chapter. 

This time out, the episode starts with the Mando taking the Razor Crest to a sketchy looking space station (sort of galactic chop shop) where he meets up with a group of old colleagues. The first of these is an unkempt man named Ranzar (Mark Boone Junior), who the Mando reached out to after the events on Tatooine, looking for work. 

Ranzar tells the Mando, “One of our associates ran afoul of some competitors and got himself caught. So I’m puttin’ together a crew to spring him.” 

Ranzar says they need to travel to the job on the Razor Crest, something the Mando isn’t happy about. When the Mandalorian expresses his disdain, Ranzar says, “the Crest is the only reason I let you back in here.” (The ship is old so it can evade various tracking codes.)

The crew (four in total) is led by a man named Mayfeld (comedian Bill Burr) — someone the Mando isn’t familiar with (but who was once an Imperial sharp shooter). 

Also on the crew is horned Devaronian named Burg (Clancy Brown), an RA-7 protocol droid named Zero (Richard Ayoade), and a purple Twi’lek named Xi’an (Natalia Tena). 

The setup of a reformed gunslinger teaming up with old colleagues is a pretty standard western trope. An example that comes to mind is the cowboy Paden (Kevin Kline) in the 1985 movie “Silverado” — a character who inadvertently reunites with an unsavory gang (led by a man named Cobb) he worked with at an earlier point in his life. 

So the Mando and Raznar’s motley crew head out to a New Republic prison ship (meaning the individual they are rescuing was arrested, not captured by competitors). 

As we know from previous episodes, the Mandalorian is no fan of droids, but has reluctantly agreed to let Zero pilot the Razor Crest on the mission. 

The Mando is hiding Baby Yoda on the ship (which the crew soon discovers). 

What starts as a rescue mission soon evolves into so much more. Before we know it, the Mando is double-crossed by his associates, and our hero has to take them all on one by one in order to escape the prison ship.

Overall, it was an entertaining episode. It is interesting to see how “close-ended” some of these episodes have been so far. I do wonder if the second season will feature longer story arcs.  

There is a New Republic Soldier/Guard on the prison ship named Davan. The actor — Matt Lantner — was the voice actor for Anakin Skywalker in “Star Wars: The Clone Wars.” 

It is also worth noting that the three New Republic X-Wing pilots at the end of the episode are played by series writers/directors Dave Filoni (who plays Trapper Wolf — the name a nod to a wolf-based plot point in the series “Star Wars: Rebels”), Rick Famuyiwa (playing Jib Dodger), and Deborah Chow (playing Sash Ketter). 

I enjoyed the fact that the episode took us to a new environment, and further developed the Mando's backstory. I also thought the irritating snark Burr brought to the role of Mayfeld made for a pretty interesting character (one I hope we’ll see again down the road). 

The prisoner they are tasked with rescuing in “The Prisoner” is Qin (Ismael Cruz Cordova), the Twi’lek brother of Xi’an — someone the Mandalorian is all too familiar with (not in a good way). 

The narrative has sort of a “men on a mission” structure seen in westerns and war films. 

We also see Baby Yoda in action as he is stuck on the ship with the droid. 

“Star Wars” fan Father Roderick Vönhogen offers some interesting Biblical insights into sixth episode of “The Mandalorian”:

 

I’m fascinated to see where the writers take things in the final two episodes of the first season of “The Mandalorian.” I’m hoping both are one continuous story arc, and set things up well for the second season (which is currently in production). 

Stay tuned for my review of “The Mandalorian” Season 1, Episode 7!

Previous post: “Movie Review: ‘Ford v Ferrari’”

Movie Review: "Ford v Ferrari"

“We’re lighter, we’re faster, and if that don’t work, we’re nastier.” 

— Carroll Shelby, “Ford v Ferrari"

James Mangold’s “Ford v Ferrari” shares a certain kinship with another 2019 film focusing on the 1960s, “Once Upon a Time in Hollywood.”

In both movies, the story’s core focuses on a pair of friends/colleagues who are working to stay relevant and achieve glory in their respective industries. 

“Once Upon a Time in Hollywood” looks at an aging actor and his stuntman pal who seem somewhat listless in a 1969 show business world that has largely moved on from the clear-cut heroes and motifs that guided 1950s and early 60s cinema. 

“Ford v Ferrari” tells the story of former race car driver Carroll Shelby (Matt Damon) and unorthodox race car driver Ken Miles (Christian Bale) as they work to help Ford Motor Company boost car sales (in the face of aspirational brands like Ferrari) by winning the 1964 Le Mans (a 24-hour race in Le Mans, France). 

In each case, the movies are a throwback to another era — using star power to drive character and narrative. 

These days, Hollywood is less focused on star power (minus a few exceptions like Dwayne Johnson) and seems more interested in building “actor agnostic" brands — or leaning on established brands — to achieve glory at the box office. 

The Marvel and “Star Wars” franchises both come to mind as examples — movie series that use event/spectacle to drive fans to theaters. The fact that you can “reboot” a comic book mythology like Spider-Man with different actors — and achieve financial glory in each case — illustrates the point. 

As a result, it is nice to see a film like “Ford v Ferrari” that is driven by a pair of this generation’s finest actors. 

The film focuses on Ford Motor Company’s struggles to stay relevant in an increasingly competitive car market. Henry Ford II (Tracy Letts) challenges his team to come up with a plan to enhance the company’s profile among other domestic car manufacturers. 

Ford VP Lee Iacocca (Jon Bernthal) has the idea to purchase cash-strapped Ferrari — hoping the co-branded fusion of the two companies will increase Ford’s fortunes. Unfortunately, Enzo Ferrari (Remo Girone) uses Ford’s overtures as a way to secure a more lucrative deal from Fiat. 

Carroll Shelby is the owner of Shelby American, a California-based company that focused on making performance cars (including the popular Shelby Mustang and AC Cobra). Shelby won the 24-hour Le Mans race in 1959, but has since given up racing due to a heart condition. 

As a side note, my brother Jay owned a Dodge Omni GLHS in the late 1980s (the car itself looked like a Volkswagen Rabbit) and it was made in the Shelby plant. For looking rather unassuming, the car’s turbo engine provided a lot of horsepower. 

After being spurned by Ferrari, Henry Ford II (referred to as “The Deuce” in the film) is ticked off. Iacocca’s “Plan B” is to approach Shelby and have him build a race car that can defeat Ferrari at Le Mans — and he only has 90 days to do it. 

Shelby employs Brit racer Ken Miles to help him test the Ford GT40 Mk 1 prototype. Miles is a down-on-his-luck auto mechanic — with a supportive wife (Caitriona Balfe) and son (Noah Jupe) — who needs the work. 

Miles is also a driver not favored by Ford’s director of special vehicles/PR specialist Leo Beebe (Josh Lucas). 

The tension between Beebe and Miles is used to stoke the flames of conflict in the “Ford v Ferrari” narrative — sometimes a tad bit too conveniently. 

In true sports movie fashion, “Ford v Ferrari" features a number of scenes where Shelby has to go to bat for the controversial driver. 

While Shelby defends Miles, his niche auto business is also dealing with the sobering realities of working with a large, multi-level corporation.

Regardless of the number of “underdog tropes” used, there is something inherently compelling about the story. 

This is where “star power” comes into play. 

It doesn’t matter whether we’re talking about the dynamic between Shelby and Miles, the relationship Miles has with his wife and son, or the boardroom politics at Ford, the “star-driven” prowess of the film is what makes it move.

Damon and Bale are a likable pair on screen. While neither performance pushes the boundaries of subtlety and nuance, their gravitas harkens back to the days when actors like John Wayne, Jimmy Stewart, and Gregory Peck graced the silver screen. 

As I watched Bale in “Ford v Ferrari,” I was reminded how he’d been rumored for the part of the title character in 2015’s “Steve Jobs.” I would have loved to see him portray the former Apple CEO in the Aaron Sorkin-penned biopic.

Credit needs to be given to director James Mangold — one of cinema’s underrated directors. 

Mangold is the man behind the standalone “Wolverine” movies (including 2017’s brilliant “Logan”). He wrote/directed one of my favorite romantic comedies “Kate & Leopold” (2001). He also did reshoots (and post-production work) for “The Greatest Showman.” 

In the commentary track for “Logan,” Mangold mentions how complicated plots are in film today. He tried to whittle the story to a minimum in “Logan,” and instead focus on character.

That’s a trait on display in “Ford v Ferrari.” 

It circles back to what I was referring to at the beginning of this review as it regards “Ford v Ferrari” and “Once Upon a Time in Hollywood.” 

Sometimes movie-goers need productions that are a throwback to a bygone era — films that present simple stories, told in expert fashion, with big star power...

The types of films that eschew computer-generated effects in favor of practical effects and allow viewers to willfully suspend their disbelief (there are some terrific racing sequences in “Ford v Ferrari” that feel authentic and natural).

It’s a quality that is being drowned out in the modern cinema of our day. 

I’m hopeful the success of “Ford v Ferrari” and “Once Upon a Time in Hollywood” will send a message to studios that audiences will consume popcorn movies featuring less bombast that focus on simple pleasures. 

Previous post: “Review: ‘The Mandalorian’ Season 1, Episode 5 (Disney+ Series)”

Review: “The Mandalorian” Season 1, Episode 5 (Disney+ Series)

SPOILERS AHEAD… YOU KNOW THE DRILL

The first season of “The Mandalorian” hit something of a snag with the fifth chapter of the series, titled “The Gunslinger.” 

Through the first four episodes, the show had been building momentum and creating a narrative that was fine-tuning the texture and motivation of our titular protagonist. 

By contrast, the fifth episode seemed like an unnecessary detour for the Mando and Baby Yoda. 

Let me explain…

“The Gunslinger” starts off right, featuring an entertaining deep space dogfight between the Mando’s Razor Crest and the ship of a pursuing bounty hunter. It was a great first two minutes. 

The Mando’s ship is wounded after the battle, so our hero lands on Tatooine at Mos Eisley Spaceport in a hangar operated by a mechanic named Peli Motto (Amy Sedaris). 

This is where the episode starts to show how thin it is.

FAN SERVICE

Instead of a meaty 30-plus-minute episode, we are treated to quite a bit of “fan service.”

Sure, it is fun to return to Tatooine and have references to well-trod things like “the Dune Sea,” “carbon scoring” and “dewbacks." It is also kind of fun to see familiar faces like Tusken Raiders, and familiar places like the Mos Eisley Cantina. 

Be that as it may, sometimes stirring the pangs of nostalgia can be a device to hide a lukewarm narrative. 

LEAVING THE BABY UNATTENDED

The Mando — not having the necessary money for ship repairs — heads out into Mos Eisley to find work. He leaves Baby Yoda unattended in the Razor Crest. 

Has the Mando learned nothing at this point?

Baby Yoda is like my two-year-old nephew Anson. If you turn your back on him for an instant, he’ll run off. 

If we’ve learned anything over the first half of the season, it’s that Baby Yoda is a curious sort. 

ANAKIN’S BROTHER FROM ANOTHER MOTHER

We learn that the Bounty Guild no longer operates from Tatooine (much to the chagrin of the merchants in Mos Eisley). 

That said, the Mando is able to find work with an aspiring bounty hunter named Toro Calican (Jake Cannavale), who is on the desert planet hunting down an elite mercenary named Fennec Shand (Ming-Na Wen). 

The Mando is in no mood to hunt down a renowned assassin, especially one who has worked for a “who’s who” of the galaxy’s major crime syndicates (including the Hutts — as in Jabba the Hutt). 

But Calican offers to give the Mando the full bounty if he assists, saying he merely wants the capture on record so he can “get into the Guild.” 

Toro Calican has all the charm and common sense of Anakin Skywalker in “Star Wars: Attack of the Clones.” Which is to say…nonexistent. 

I can just imagine Calican using Anakin’s favorite pickup line: “I don’t like sand. It’s coarse, and rough, and irritating...and it gets everywhere. Not like you. You’re everything soft…and smooth.” 

Anyhow, the Mando agrees to assist, and the two travel out into the Dune Sea on speeder bikes (the scenes of them flying through the desert feel like they could have stepped off the pages of the 1996 book, “Star Wars: Shadows of the Empire” by Steve Perry). 

WHERE’S THE RIFLE?

I was a little confused as to why the Mando didn’t bring his forked long rifle with him on the hunt. He still had it after the events in “The Sanctuary.” 

That weapon has proven itself a useful tool in previous episodes. If you’re hunting a deadly assassin, wouldn’t you want to have it on hand?

The Mando and Calican eventually find Fennec, and manage to capture her in a gambit involving flash grenades. 

The whole episode felt like a long buildup to a brief scene at the end where we see a pair of “legs” walking toward the body of Fennec (we assume she’s dead at the end, but you never know…)

MYSTERY MAN

Many have speculated about the mysterious figure who appears at the end of the episode. 

I've heard some theories suggest it is Boba Fett (some of the “Star Wars” YouTubers suggest certain sound effects sound like they are from “Star Wars: The Empire Strikes Back”). 

Didn’t Fett die in the Sarlacc Pit in “Return of the Jedi”? Plus, I didn’t think those boots looked like the pair he wore in the original “Star Wars” trilogy. 

I don’t mean to sound overly critical about the fifth chapter in “The Mandalorian.” It just felt a tad bit weak. 

The episode was written and directed by Dave Filoni — the guru behind the SW animated series “The Clone Wars," “Rebels,” and “Resistance.” In terms of tone and style, this episode seemed like it would feel at home in one of those shows. 

After strong outings in the third and fourth episodes of “The Mandalorian,” it is too bad that the fifth episode was something of a letdown. I’m hoping that the final three episodes of the first season send things out on a high note. 

Stay tuned for my review of “The Mandalorian” Season 1, Episode 6. 

Previous post: “Review: ‘The Mandalorian’ Season 1, Episode 4 (Disney+ Series)”

Review: “The Mandalorian” Season 1, Episode 4 (Disney+ Series)

SPOILERS AHEAD

Chapter 4 (“The Sanctuary”) of “The Mandalorian” sees the Mando and Baby Yoda on the run, and gives fans a much-needed change of scenery. 

Don’t get me wrong, I like desert planets in “Star Wars” stories as much as the next fan, but the environment seems a tad bit overused. 

The Mando — looking for a place to lay low after shooting his way off the “smugglers’ planet” (for lack of a better name) — finds a sparsely populated planet called Sorgan with lush grasslands and forests.

As the episode begins, we see a community of farmers who harvest krill (little blue aquatic creatures raised in pools) thrown in disarray by an attack from orc-like Klatooinian Raiders. 

YODA MEMES

As the Mando and Baby Yoda are traveling through space in the Razor Crest (on their hunt for a safe haven planet), there is a moment of Baby Yoda cuteness involving the toddler pushing buttons on the ship’s console. 

A lot of people have re-edited this scene to have all sorts of things happen when Baby Yoda presses the buttons — from music popping on to various alerts and warnings going off. Here is an example of a fan edit of this scene:

A BOUNTY HUNTER WALKS INTO A BAR...

The Mando and Baby Yoda land near a local bar/restaurant on Sorgan (destined to become a future attraction at DisneyParks). The two enter in search of food (grinjer bone broth for “the little one”) and information. The Mando is curious about a tough-looking woman sitting in a corner.  

The Mando pays the proprietor to keep an eye on Baby Yoda, then heads outside, where he confronts the woman, resulting in a fist fight between the two. 

The woman’s name is Cara Dune (Gina Carano). She is a former shock trooper for the Alliance to Restore the Republic who saw most of her action after the Battle of Endor — going after ex-Imperial Warlords. 

Dune became disenchanted with the role after it evolved into peacekeeping duty. 

She’s trying to lay low on Sorgan (she refers to her situation as “retirement”). Her initial concerns were that the Mando had a fob on her. 

“SHANE, COME BACK!”

The Mando decides to move onto another planet, but is approached by a couple of the krill farmers. They are offering payment if the Mando will help them fight off the Klatooinian Raiders. 

The Mando employs the assistance of Cara Dune. He likes the idea of spending time in the middle of nowhere. 

The setup is like “The Magnificent Seven” or “Shane” or even “Three Amigos” (if you want to deep dive that much).  

It’s definitely a western trope. I don’t mind that at all. 

FAMILY FRIENDLY

One of the things I like about ”The Mandalorian” is that Jon Favreau has managed to create a compelling drama which is inherently family-oriented. Compared to other “edgy” contemporary dramas, its nice to have something I can recommend to anyone. 

“The Sanctuary” was directed by Bryce Dallas Howard (I love her in the role of Clare in the “Jurassic World” movies). She does a yeoman’s job with the episode, and I hope to see more of her directing in the “Star Wars” universe. 

The Klatooinians have a used AT-ST at their disposal — presenting a real threat to the villagers. I liked how the transport was portrayed in the episode, with a red glow emanating from the viewports, and demeanor like a metal dinosaur. 

A widow named Omera (Julia Jones) and her daughter Winta (Isla Farris) sort of adopt the Mando and Baby Yoda into the fabric of the farming community.

When the Mando and Cara train the villagers to help in the fight, Omera proves herself to be an accurate shot with a blaster. 

I figure Omera and Winta will reappear in a future episode. 

A CHRISTMAS STORY?

There are a number of interesting commentaries on the first four episodes of “The Mandalorian” floating around the web. 

One of the more interesting pieces of analysis comes from self-proclaimed “geek priest” Father Roderick Vönhogen. Bridget and I are Patreon supporters of Father Roderick, and I enjoy his commentary regarding various “Star Wars” properties. 

In his analysis of the fourth chapter of “The Mandalorian” series, Roderick suggests the narrative (so far) mirrors the story of Joseph, Mary, and baby Jesus in the Bible:

It’s a really insightful analysis — it definitely got me thinking in a different direction. As he points out, the term “sanctuary” (the name of the episode) comes from the Latin word “sanctus,” which means “holy.”

FINAL THOUGHTS

As I mentioned earlier, I really enjoyed the change of pace for the fourth episode of “The Mandalorian.” Cara Dune, Omera, and Winta will likely show up again as the series rolls along. 

I also like the notion that this season of the show serves as an allegory for the story of Christmas. I’m curious to see how things develop. 

Stay tuned for my review of “The Mandalorian” Season 1, Episode 5!

Previous post: “My Thoughts on the ‘No Time to Die’ Trailer (New 007 Movie)”

My Thoughts on the “No Time to Die” Trailer (New 007 Movie)

My earliest recollection of seeing a James Bond movie in the theater was 1981’s “For Your Eyes Only.”

I remember the day pretty distinctly because the movie was about to end its run at the local “99 cent” Gemini Twin Theater — the movie house where I saw “Raiders of the Lost Ark” 30+ times over the course of several months. 

I was in third grade at the time. 

In order to make the showing of “For Your Eyes Only,” we had to leave a youth soccer game I was playing in early. 

I don’t think my departure impacted the team (the Rockbrook Rockets). As I’ve said before, some people are destined to be athletes, others are destined to be fans. I’m in the latter category. My teammates were telling me how good the latest Bond film was as I left the field that evening at Sunset Hills Elementary. 

I had watched 007 movies on TV with my family. They aired on ABC at the time, and I’d developed a love for the spy franchise. 

Watching a movie in the theater is a unique experience, and that viewing of “For Your Eyes Only” at the Gemini ranks as a fond movie memory. 

So here we are — a little over 38 years after after I saw that movie in the theater — being treated to the first trailer for the 25th installment in the James Bond series “No Time to Die.” Here is the new trailer:

Daniel Craig is back as 007. There was some doubt a few years ago as to whether he’d renew his license to kill as James Bond. 

I’m glad Craig is back. I love what they’ve done with the 007 franchise since he’s played Bond. 

I remember when Bridget and I saw “Casino Royale” at AMC Oakview 24 in early 2007 (after the movie had been out for a while). I was really surprised how well the finished product turned out. 

More than that, the attendees at the showing (in a small auditorium) actually clapped at the end (something you don’t often see for a movie that’s been out several weeks). 

Unlike early Bond films, the Craig series has featured “intertwined” plot lines. There is a certain risk in doing that, but it has worked out well for the franchise (in my opinion). 

The last time fans saw a new Bond movie was 2015’s “Spectre.” At the end of that movie, Bond had decided to hang up his Walther PPK and drive off into the sunset with Dr. Madeleine Swann (Léa Seydoux). 

Bond and Swann appear to be together at the beginning of “No Time to Die.” 

There have been rumors 007 will marry in this movie. The trailer doesn’t indicate whether or not that happens. 

It would be an interesting development. The last time James Bond wed theatrically was 1969’s “On Her Majesty’s Secret Service” — the one and only time George Lazenby played 007. In that movie Bond wed Contessa Teresa di Vicenzo (Diana Rigg), and it ended tragically. 

I think “On Her Majesty's Secret Service” is a underrated Bond film. Despite the awkwardness Lazenby brought to the role, the film managed to get a lot of things right. 

Keen observers watching the “No Time to Die” trailer will notice Bond uncovering what looks to be a 1969 Aston Martin DBS. If I’m right, it is the same model Aston Martin that Lazenby drove in “On Her Majesty’s Secret Service.”  

It is also interesting to note that the trailer for 2015’s “Spectre” featured a newly orchestrated version of John Barry’s “On Her Majesty’s Secret Service” score (starting at the 1:13 mark):

 

There is a new female “00” agent in “No Time to Die” played by Lashana Lynch (who played Maria Rambeau in “Captain Marvel”). Hard to tell if this is a setup for a reboot of the franchise in the future or not:

It looks like Bond returns to service in “No Time to Die” as a favor to CIA field officer (and friend) Felix Leiter (Jeffrey Wright):

Ernst Stavro Blofeld (Christoph Waltz) is back (behind bars this time), and still seems to be manipulating 007. The revelation in “Spectre” that Blofeld was the mastermind behind the events in all of the Daniel Craig Bond films suggests his influence might still wreak havoc for Bond in “No Time to Die.”

A new villain named Safin (Remi Malek) is at the heart of the narrative in “No Time to Die.” His presence appears to be related to a long-held secret Madeleine Swann has kept from Bond. I’d put my money on him being Swann’s brother, but I can only speculate at this point:

Both “Spectre” and “Skyfall” (a film I thought deserved an Oscar nomination for Best Picture) were directed by Sam Mendes. 

In my opinion, those two entries were visually stunning productions. In particular, the cinematography in “Skyfall” (done by the brilliant Roger Deakins) aided in the film rising above typical action fare — with several shots looking like they’d make lovely still photos. 

Handling cinematography duties for “No Time to Die” is Linus Sandgren, whose credits include “La La Land” (read my review) and “American Hustle.” If the trailer is any indication, the new Bond outing should have a beautiful look. 

For a first trailer, the new “No Time to Die” trailer is pretty meaty (the movie opens April 10, 2020 in the U.S.) 

It is hard to get a clear picture of the plot, but I figure Bond will have to navigate a world dealing with the fallout of the “Nine Eyes” intelligence initiative — something that was at the center of events in “Spectre.” 

“No Time to Die” is directed by Cary Fukunaga, who is probably best known for his HBO series “True Detective.” He wrote the screenplay for the horror film “It,” and was director/writer/cinematographer for the Netflix film “Beasts of No Nation.” 

If this is Craig’s last outing as Bond, I hope the filmmakers send him off with a bang. The venerable 007 franchise has managed to stand the test of the time at the box office. 

I’m just happy they’ve managed to evolve the series to a point where each film strives to be more than the sum of its parts. 

Like recent entries in the “Mission: Impossible” series (read my review of “Mission: Impossible - Fallout”), the James Bond franchise has focused on practical effects over CG. 

That creates verisimilitude in the narrative. 

Add in a luscious production design and stylish costumes (everyone looks like they stepped out of an issue of GQ Magazine), and the result is a tasty cocktail that is both shaken and stirred. 

The ability to continually reinvent the prototypical James Bond film for successive generations has been impressive. I’ll be waiting with baited breath to see what comes next. 

Previous post: “Book Review: Chris Hauty’s Thriller ‘Deep State’ Left Me Speechless” 

Book Review: Chris Hauty’s Thriller “Deep State” Left Me Speechless

Each year, I read a healthy number of political/espionage thrillers. 

It is my favorite genre, and I’ve reviewed a number of thrillers since I started this blog in 2016. 

Having consumed the genre for more than 30 years now (after my sophomore English teacher gave our class the assignment of reading and reviewing a Tom Clancy or Robert Ludlum novel in the waning days of spring semester in 1989), I sometimes find the genre lacking in fresh surprises.

Chris Hauty’s debut thriller “Deep State” left me speechless as the pages dwindled away in the “Advance Reader’s Edition” supplied by Atria Books. 

A stunning twist caused me to hop off the couch, run into the other room, and express my disbelief to my wife Bridget. She hasn’t read the novel yet, so I had to be all cryptic and vague about it. 

“Deep State” follows the exploits of Hayley Chill. She’s a West Virginia native, oldest of six siblings, and serves in the military at Fort Hood. 

As the novel begins, Chill is preparing for a bout in the boxing ring against Marcela Rivas — in a match to determine the welterweight champion of the Sixth Army. 

It’s a gripping way for Hauty to start his novel — using a situation that builds character with minimal exposition. His descriptions of jabs and hooks makes the story feel immersive from the opening stanza. 

In my research for this review, I learned that Hauty — a screenwriter by trade — penned screenplays for a trio of movies under the “Never Back Down” moniker, focusing on underground fight clubs. So he has familiarity with the territory. 

The story then shifts ahead 15 months, and finds Hayley Chill starting work as an intern in the White House — older than her peers, and lacking the Ivy League pedigree. 

There’s a compelling “fish out of water” tension Chill faces in these early scenes as she acclimates to White House politics. In a way, it kind of reminded me of the conflict/hazing Elle Woods faced when dealing with her Harvard Law School classmates in “Legally Blonde.”

Hayley uses her photographic memory (cultivated in grade school) and frank nature to earn the respect of White House Chief of Staff Peter Hall. President Richard Monroe also admires Chill’s demeanor — the intern's working class background epitomizes the Monroe voter. 

“Deep State” kicks into gear when Peter Hall is found dead in his home on Kalorama Road. The events surrounding his mysterious death set into motion a conspiracy with tentacles reaching into various Washington, D.C. institutions. 

It is up to our intrepid intern to connect the dots as she navigates the corridors of power in the nation’s capital. 

You’ll see a number of “ripped from the headlines” themes throughout “Deep State” — the topical undercurrent will have you questioning the political culture we find ourselves in today. 

I’m not going to go any further because I don’t want to spoil the novel for you. 

Chill is an intriguing hero. The best way to draw a protagonist is through action — as opposed to an “info dump” in the story. We certainly have the opportunity to see her in action as the events of “Deep State” unfold. 

She is a mix of Darby Shaw in John Grisham’s “The Pelican Brief” and Sydney Bristow in the television series “Alias.” 

Speaking of “Alias,” this is the sort of role you could have seen Jennifer Garner (who grew up in West Virginia) playing during her younger days. 

Those who have read my reviews in the past know how much I like the little details authors sprinkle into their novels. 

Hauty has descriptions of grilled cheese sandwiches (from Navy Mess chef Leon Washington) that’ll make your mouth water. 

There is also a recurring motif involving Chill gripping a stone in her palm that adds depth and dimension to the character. 

One of the more unique aspects of “Deep State” — in terms of writing mechanics — is that the story is structured in the “third person, present tense” voice (and includes a fair amount of foreshadowing for secondary characters). 

It’s not something I’ve typically seen in these sorts of novels (most thrillers I read stick with the “third person, past tense” voice). I have seen the present tense voice used in a number of YA novels I’ve read, and always think how challenging it would be to craft a story in that style. 

(A cursory Google search suggests that “third person, present tense” is used in screenwriting, so it seems apropos for Hauty to employ it in “Deep State.”)

“Deep State” is a terrific entry in the thriller game — featuring a feisty new protagonist in Hayley Chill. With a hair-raising twist in the final pages, Hauty proves a capable craftsman who will have readers thirsting for more. 

“Deep State” will be released by Emily Bestler Books/Atria Books on Jan. 7, 2020. Pre-order your copy here. 

You can learn more about Chris Hauty and his novel “Deep State” at www.chrishauty.com. 

Previous post: “Review: ‘The Mandalorian’ Season 1, Episode 3 (Disney+ Series)”