Andor Dared to Say ‘Genocide’

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Discussions ahead pertain to the initial and subsequent seasons of “Andor,” up until the ninth episode titled “Welcome to the Rebellion,” which made its debut on Disney+ on May 6.

In a world where only children might argue that Star Wars lacks political undertones, Andor stands out as mature storytelling. Its sophisticated narrative cleverly weaves comparisons between the tyrannical Empire, the emerging Rebellion, and various historical conflicts, creating a parallel that resonates with contemporary issues. The chilling massacre at Ghorman in “Who Are You?” echoes not only the French Resistance against Nazi Germany during World War II but also the Algerian struggle for independence from France in the 1950s and 1960s, demonstrating writer Dan Gilroy’s keen awareness that heroes can be perceived as villains by others.

The captivating aspect of Andor lies in its portrayal of those who defy oppression as the ones we should support. This series has never felt more insightful in exploring the intricate ways oppressors exercise power or more urgent in explaining how this happens: through propaganda, disinformation, sycophantic media, double-dealing politicians, xenophobia, and militaristic aggression.

“Who Are You?” serves as a guide to the imperialist playbook, and Andor shines brightest when it portrays the Empire as destructive, treacherous, and merciless. Moreover, its depiction of power consolidation by engineering powerlessness is both painfully relevant and enduringly timeless.

The backstory of the Ghormans has been simmering in the shadows while other Rebellion matters took center stage, such as Mon Mothma’s financial problems, Bix’s emotional struggles, and Saw Gerrera’s radical views. As early as the fourth episode of season one, “Aldhani,” Mon scolds her husband for hosting a dinner party when Ghorman’s shipping routes were blocked. In the sixth episode, “The Eye,” she is taken aback by the Senate’s backing of the Empire suppressing the Ghormans, who merely sought their fundamental rights. Although the Ghormans are not shown on screen during the first season, Mon’s anxiety over them and what we learn about the Empire’s treatment of Aldhani’s indigenous people hints that Ghorman may face a similar fate. Furthermore, Rebellion organizer Luthen Rael’s comment about the Aldhani heist – “The Empire has been slowly suffocating us; we’re no longer aware. The time has come to make them act” – foreshadows that Ghorman will be a focal point in Andor’s second season, fortunately without delving into Force-related matters, as Andor has maintained its distance from such topics.

When I step foot on Ghorman, the narrative shifts into high gear. Unlike Aldhani, we’re not witnessing an Imperial conquest aftermath; instead, we’re given insights as to why the Empire covets Ghor. Primarily for energy needs, specifically “gouge mining” a mineral called kalkite, which is predicted to reshape the galaxy’s economy and bolster Imperial rule, as Director Krennic explains. Moreover, we discover how this annexation will unfold through the Empire’s arsenal: a propaganda blitz to portray Ghorman as selfish and manipulate public opinion against the planet; a Senate vote to further restrict Ghorman’s autonomy, paving the way for an Imperial occupation force; Agent Dedra of the Imperial Security Bureau infiltrating the Ghorman Front resistance group via her partner, Syril. This duplicitous Syril provides them with false intelligence and misleading advice. Over the course of more than a year that Syril is embedded within the Ghorman Front, he incites them towards increasingly violent actions – actions which the Empire’s media machine, of course, portrays as more destructive than the Empire’s own actions. This deceptive campaign then becomes a self-perpetuating cycle: The Empire justifies building an armory on Ghorman because the Ghor threat is so immense; the Empire disparages a Ghorman memorial to unarmed protesters massacred by Grand Moff Tarkin, claiming this defiant planet deserves it.

This show, Andor, reveals how public opinion can be manipulated to support the oppressor and discredit the oppressed. The Empire, however, doesn’t just want general support for its actions; it wants total destruction. This is what makes the resistance of the Ghor so heart-wrenching and powerful to watch. Despite being trapped with no escape, the Ghor refuse to give in.

When the Empire shoots one of their guards to make it seem like the Ghor started the violence, Andor exposes how immorality is a natural consequence of power. The massacre that follows is devastating and serves as a reminder of the ruthless nature of the Empire’s power.

Even someone like Syril, who was once an active part of the system, is shocked when Dedra turns him into an “outside agitator” to seize Ghorman’s resources. His beret symbolizes his newfound allegiance with the Ghor and their cause.

The show also suggests that some in the Rebellion, like Luthen, view Ghorman as a necessary sacrifice to inspire other planets to rise against the Empire. However, this idea feels less immediate than its persistent message that events like these have been happening for a long time and continue to happen now.

Series creator Tony Gilroy prefers not to make explicit comparisons between the show Andor and real-world events: When questioned about similarities between the Public Order Resentencing Directive in season one and the Empire’s version of the Patriot Act, and the treatment of Ferrix rebels reminding some of Abu Ghraib and Guantánamo Bay, he replied, “You can certainly make that connection, but there’s a rich history to draw from. You can look at the Montagnards, the Irgun, the African National Congress, or even go back to the Roman revolution… Observing revolutions and the political factions within them reveals a common truth: There’s rarely just one direction of progress. Many people move in different ways.” It’s up to Gilroy to reference whichever historical groups he chooses, such as the Montagnards, an indigenous group from Vietnam’s Central Highlands who resisted the North Vietnamese, or the Irgun, a Zionist paramilitary force responsible for numerous deaths during World War II and attacks on British institutions. However, it’s hard to ignore the strong resemblance of the Ghor to French-inspired elements (their language rhythm, peasant clothing, the musical protest scenes reminiscent of Les Misérables) which might suggest that their rebellion against the Empire could be seen as a symbol for resistance during Nazi occupation in France.

The unique aspect of ‘Who Are You?’ lies in its ability to reference multiple social movements while encouraging us to draw parallels between the fictional events involving the Ghor and real-life situations. For instance, Thela’s statement, ‘Rebellions are built on hope,’ resonates powerfully when compared to Cassian’s line in ‘Rogue One: A Star Wars Story.’ However, what makes this connection even more striking is how ‘Who Are You?’ brings the themes of subjugation out of the realm of galactic fiction and into our own world. The Ghor’s rallying cry, ‘The galaxy is watching!’ mirrors the ‘The whole world is watching’ slogan that originated during the civil rights movement and anti-Vietnam War protests. Additionally, the Empire’s brutal treatment of the mostly unarmed Ghor resembles the heavy-handed response of US police to racial justice demonstrations. Furthermore, the backdrop of the Israel-Hamas conflict, which escalated between seasons, casts a long shadow over these events, with the leveling of Gaza and increased violence against Palestinians in the West Bank serving as a poignant reminder.

In “Who Are You?”, the similarities between the struggles of Ghor and Palestine become hard to overlook: a media that often favors the perspective of the occupier, confiscation of their lands for military purposes, an occupying force backing a violent group to undermine self-rule claims, and heavy casualties attributed to superior weaponry used against them. Watching this series, it’s challenging not to contemplate the violence in Gaza and the West Bank, or later when Mon labels the Empire’s actions towards Ghor as “genocide“, causing an uproar in the Senate. Even setting aside this parallel, the significance of this storyline lies in its universality. The exploitation of Ghorman for its kalkite mirrors the U.S.’s invasion of Iraq post-9/11 to benefit oil companies, Russia’s attack on Ukraine due to resource wealth, and the escalating violence in the Democratic Republic of the Congo over mineral reserves powering today’s smartphones. The way Andor portrays the destruction of Ghorman feels familiar because it’s widespread yet persistent.

In this storyline, Mon’s use of the term “genocide” sparks controversy, yet given Andor’s frequent portrayal as the Rebellion’s voice of reason, we find her statements credible. Indeed, we witnessed the atrocities: The Ghor were systematically targeted, gathered, trapped, and killed, a pattern that Andor meticulously explores, revealing its lasting impact throughout history until today. When Ghorman Front member Dreena, a massacre survivor, broadcasts her distress signal to the galaxy, urging for help as she cries out, “We are under siege… We are being slaughtered… Is there no one who can help us?,” her plea resonates with painfully familiar voices in our world. Andor challenges us to heed these cries.

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2025-05-07 21:43