May the 4th is coming up fast, and for Star Wars fans looking for deals, my past articles say it all. In a nutshell: there are not a lot of deep discounts, and it’s more about random merchandise pushes. This year, it’s all about The Mandalorian and Grogu. The theatrical continuation of the Disney Plus series later this month will pick up from where things left off.
Set in the messy aftermath of the Galactic Empire’s collapse, The Mandalorian follows Din Djarin, a bounty hunter of few words and even fewer smiles. He becomes the unlikely guardian of Grogu, a tiny, big-eared, Force-sensitive little guy from the same species as Yoda. What starts as a straightforward job becomes a look at the cosmic underground, as Outer Rim politics get explored. There are bounty hunters galore, Imperials doing their own thing, and minor civil wars the pair must navigate. The concept is essentially Lone Wolf and Cub, and it’s a beautiful frontier look at a galaxy far, far away.
Not every tech event needs reporting on, and with the CES 2026 show being debated on, it’s time to decide! Not everything is worth needing and the big talk is certainly on one thing: 
Looking back, the last century feels like the moment genre television quietly defined its contract with the audience. Most of those early experiments arrived in short waves, and like the tides, they came and went. Some returned decades later on specialty stations or streaming platforms. And these days, nearly everything is being tucked into quieter shores. Every so often, the tropes that once defined a series are reskinned for a new generation, which is simply how television writing evolves.
The Allure of Immersion
Anyone who’s been following the