Star Wars Needed This

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Occasionally, I underestimate the bar I’ve set without realizing it, until something extraordinary comes along that makes me lift my gaze. That was definitely true for “Andor”. When the new “Star Wars” series premiered in September 2022, there wasn’t much about its premise that hinted at greatness. A prequel to “Rogue One”, a film with a rich legacy but mixed reviews and tales of post-production refinement? I guess it could be interesting, but considering the release of “Obi-Wan Kenobi” just months prior, which was a creative low point for the franchise, there wasn’t much room for optimism. The fact that its showrunner was Tony Gilroy, renowned writer-director behind thoughtful films like “Michael Clayton”, who had contributed to the rewrites and reshoots of “Rogue One”, didn’t necessarily promise greatness either; after all, many talented filmmakers have seen their visions diluted by the “Star Wars” machine before. (Consider Ron Howard’s “Solo”, Leslye Headland’s “The Acolyte”, etc.)

As a movie critic, I must confess, Andor surpassed my expectations and redefined what Star Wars can be. This isn’t just great television; it’s the epitome of Star Wars, a masterfully crafted spy thriller that manages to make a distant galaxy eerily relatable to our own world. The series seamlessly blends high-octane action sequences – think blaster shootouts and ships jumping into hyperdrive – with profound philosophical questions. It delves into the complexities of human nature, exploring themes such as what drives an individual towards fascism, what transforms a drifter into a revolutionary, and even pondering the details of middle-class housing in Coruscant.

The characters in Andor are not mere caricatures; they’re living, breathing individuals with lives that stretch beyond their roles in the story. They worry about their laundry, they laugh, they cry – they feel real. The universe created by Tony Gilroy feels so vibrant and alive, it leaves you questioning: How on earth did this masterpiece come to be?

Andor” remains a top-notch series throughout. The debut picks up from where the first season ended, finding Cassian Andor (Diego Luna) now deeply involved in Luthen Rael’s (Stellan Skarsgård) spy network, undertaking missions to undermine the Empire and establish the groundwork for what will evolve into the Rebel Alliance. As we join Cassian mid-mission, breaking into an Imperial hangar to steal a prototype TIE fighter, we are quickly reminded of “Andor”‘s ability to portray complexity, demonstrated through an early scene where Cassian encourages an Imperial defector who is hesitant about her decision. “I’ve enjoyed myself here … that must sound odd,” she says, voice quivering, subtly acknowledging the existence of life within Imperial territories. “You are returning to yourself,” Cassian responds, momentarily blurring the lines between rebel and charismatic leader. “You have transcended your fear. Let it shield you.

This season primarily revolves around Cassian, but he’s not always at the center of the story, instead being part of a broader conflict. The initial segment of the story emphasizes this by placing Cassian in a meaningless battle while focusing on other characters: Luthen and his ally Kleya (Elizabeth Dulau); the survivors of Ferrix, including Bix (Adria Arjona), a fellow operative of Luthen and Cassian’s lover, as they attempt to hide on an agricultural planet; Syril Karn (Kyle Soller), a Pre-Mor security official turned Imperial bureaucrat; Deedra Meero (Denise Gough), a stern intelligence officer who persistently hunts for Luthen; and Mon Mothma (Genevieve O’Reilly), the senator who will later lead the Rebel Alliance.

The new episodes in this series convey a strong impression of size and scope, with the season’s structure divided into three-episode arcs that span four consecutive years leading up to the events of “Rogue One.” This approach lends a brisk pacing, but it also introduces an element of detachment as each arc concludes, requiring viewers to catch up on characters’ emotional states. However, the true charm of “Andor” lies in its ability to balance this coldness with warmth by portraying its worlds with great care and detail.

For instance, Ghorman, a significant location for the season’s intrigue, is depicted as a vibrant cityscape filled with cobblestone streets, cafes, and fashion houses, suggesting a rich cultural tapestry only glimpsed by viewers. If Canto Bight from “The Last Jedi” resembles Space Monaco, then Ghorman can be seen as the franchise’s version of Space France!

In addition, fans of “Star Wars” are treated to a detailed portrayal of Chandrila, home planet of Mon Mothma, through an elaborate wedding ritual involving her daughter and a questionable family for the sake of the Rebellion. The world-building in “Andor” is remarkable due to its understated nature; it feels like real places where people live and invest their emotions, rather than overtly drawing attention to its fantastical elements.

Originally planned as a five-season series, ‘Andor’ was eventually reduced to two by creator Tony Gilroy due to the lengthy production time required for the original plan. Unfortunately, this means less content for us to enjoy. Despite the creative conservatism of the current Star Wars franchise, it’s surprising that such an expensive project like ‘Andor’ was greenlit, as its combined budget of over $416 million (beating ‘The Rise of Skywalker’) is a significant investment given Disney’s ongoing concerns about its long-term prospects, leadership succession, future franchises, and ability to navigate political controversies. It seems unusual for Disney to invest such a large sum in a show with limited potential viewership.

In simpler terms, Andor isn’t simply a gritty version of Star Wars. It’s a show that dares to delve deep into political intrigue, spending a significant portion of its second season premiere on a lengthy boardroom discussion about an energy-independence campaign that turns out to be a weapons program. This scene might appeal to fans who enjoyed Michael Clayton, but could be off-putting to traditional Star Wars fans. Moreover, Andor is the kind of show that prefers to keep explanations and background details minimal. For instance, in the sixth episode, the motivation behind a certain operation remains largely unspoken, leaving it for viewers to infer. The show also tends to express changes in character psychology more subtly, often using visual cues such as the evolution of Syril’s wardrobe to hint at his relationship with Ghorman. This subtlety might not resonate with a large segment of the audience that Star Wars has traditionally attracted, as it relies less on fan service or iconic characters like the Skywalkers. The viewership numbers for the first season suggest this could be the case, despite the widespread critical praise. Disney even acknowledged the lower viewership compared to their other projects.

Despite some initial doubts, spending on Andor has proven to be well-invested. This second season not only solidifies its position as the finest Star Wars production yet, but also enhances the best aspects of the franchise. A New Hope will seem simplistic after this. However, its value transcends that. Much of current Star Wars feels like it caters to its own fantasy, fandom, and escapism. Andor, however, redefines that fantasy for a cause greater than itself. Its narrative of political awakening, rebellion, and the fight against fascism is so captivating that it inspires you to look up at the stars and your own world with renewed wonder. Andor is nothing short of extraordinary, and if we’re fortunate enough, we might witness something similar again in the future.

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2025-04-21 20:54