Andor’s Finale Writer Exposes Star Wars’ Biggest Problem: Why Playing Less With Lore Wins

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A writer for the finale of season 2 of Andor recently shared what makes this series unique compared to other recent Star Wars projects. Contrary to its initial classification as a spinoff prequel from a prequel movie, Andor stands out as one of the most complex and fulfilling Star Wars productions. It not only offers more background on the creation of the Rebel Alliance, but it delves deeper into the Empire’s corruption and the oppressive systems it mimics than the franchise has ever done before.

In the intriguing series, Andor, though it unfolds during a pivotal era in galactic history, one standout aspect is its restraint in directly connecting with other significant Star Wars stories happening simultaneously. The creators of Andor appear to have carefully chosen which elements of Star Wars lore to incorporate, either for maintaining continuity or propelling the narrative, and a writer from season 2 has shared insights on this choice.

Andor’s Writer Explains The Philosophy That Makes This Show So Good

Writing for an established intellectual property like Star Wars can be challenging due to the allure of its extensive mythology. With countless iconic characters, locations, species, set designs, weapons, and more, finding a balance between incorporating elements that enrich your story and avoiding those that may unnecessarily weigh it down is crucial. How do you make this distinction?

In a chat with Backstory Magazine, Jeff Goldsmith interviewed Tom Bissell, who joined the writing team for ‘Andor’s second season and wrote the final three episodes. These episodes seamlessly transition ‘Andor’ into the storyline of ‘Rogue One: A Star Wars Story’, as Cassian Andor departs for Kafrene, a location featured in one of the movie’s opening scenes. During this interview, Bissell shared the crucial advice he picked up from ‘Andor’s showrunner, Tony Gilroy.

I’ll be referring back to a point Tony made during our collaboration on season 2 that resonated with me deeply. Although I never articulated it as eloquently as he did, it was a concept I had intuitively understood while working on games like Uncharted, Gears of War, Battlefield, and others. This idea seems to have been guiding my work all along, even if I wasn’t consciously aware of it at the time.

Tony made a point I found very insightful. He explained, ‘Often, when creating intellectual property narratives, your initial urge is to dive into the toy collection and begin playing with all the toys.’ However, he suggested, ‘It’s important to resist this instinct, and instead, your goal should be to put more toys in the box than there were when you started. In other words, focus on creating and contributing to the world rather than just taking from it.’

Reflecting on the vibrant blend of novel ideas, diverse materials, celestial bodies, and abstract notions that these two seasons have introduced to the Star Wars universe, it’s hard to find a more convincing validation for this method in creating intellectual property narratives.

“If your primary goal is to make fans happy, you’re gonna be in trouble real quick.”

In the last three episodes of Andor season 2, there were numerous chances to tie in references to other Rebellion-era tales, similar to Rogue One and ultimately the original Star Wars film, which was later renamed A New Hope. However, the creators opted against it. Instead, the climactic montage primarily highlighted characters originating from Andor or essential to Cassian’s narrative, a decision that strengthened these episodes and the series as a whole.

Star Wars Normally Takes The Opposite Approach

Disney’s Star Wars series has faced criticism for leaning too heavily on nostalgia. For instance, the plot of Star Wars: The Force Awakens was quite similar to A New Hope. Questions like “Why do we need a Han Solo origin story?” or “Why is Tatooine always part of the storyline?” are frequently asked by fans. While some decisions in recent Star Wars stories have been successful, others haven’t. However, Andor presents an intriguing contrast to these stories. It’s a delicate act to strike the right balance, and achieving that balance can be challenging.

Gilroy and Bissell’s “toybox analogy” is captivating, given that two other prominent Star Wars creators, Jon Favreau and Dave Filoni, have employed this same metaphor in different scenarios. Instead of shunning the existing toybox as much as possible, like Gilroy and his team seem to do, Filoni and Favreau have mixed their Star Wars toybox, picked out the characters, sequences, and concepts they are most fond of, and woven fresh narratives around these cherished “toys.

In essence, it’s acceptable to follow that writing style as long as a suitable balance is maintained. Both Filoni and Favreau have proven their skills in storytelling. Filoni did an exceptional job with the series like Star Wars: The Clone Wars and Star Wars Rebels, filling in vital details about the prequel trilogy, the history of the Rebel Alliance, and the Empire’s rule, even before the show Andor was created.

I strongly agree that the initial season of “The Mandalorian” gained immense popularity due to its skillful blend of authentic “Star Wars” essence and innovative, unique concepts. By incorporating elements from the Mandalorian lore established in Star Wars Legends and The Clone Wars, and presenting it in a captivating, modern way, the series successfully catered to both long-time fans and newcomers.

In simpler terms, when it comes to “The Mandalorian,” the core relationship between Din Djarin and Grogu was primarily unrivaled by other well-known “Star Wars” elements in seasons 1 and most of season 2. These elements enhanced their story but didn’t overshadow it. However, as legacy characters like Ahsoka Tano, Boba Fett, Bo-Katan Kryze, Luke Skywalker, and others were introduced, one might question if “The Mandalorian” and the broader “Mandoverse” franchise still managed to maintain a balance in the main narrative. Is “The Mandalorian” still primarily about Din Djarin and Grogu? At what point does the storyline become too complex due to the inclusion of too many characters or “toys”?

Star Wars Needs To Learn An Important Lesson From Andor

In essence, the enduring popularity of Star Wars is well-deserved, as nostalgia continues to hold significant sway due to our fondness for what’s comfortable and familiar. Transforming animated characters into live-action can be justified if it serves the story, just as revisiting established settings may not always be a bad thing. However, every decision should prioritize the story and its characters above all else, even within a vast franchise like Star Wars. Sometimes, focusing on the smaller aspects of the narrative can also be meaningful.

In the realm of Star Wars storytelling, Andor stands out as a compelling tale that maintains a sense of intimacy amidst grand galactic events. While we’re aware of figures like Emperor Palpatine and Darth Vader wreaking havoc across the galaxy, the writers of Andor cleverly chose not to overemphasize their presence. Instead, they opted for a more impactful approach: Mon Mothma’s call-out of Emperor Palpatine for the Ghorman Massacre carried greater weight when we didn’t see his response directly. In that instance, the resonance of her words wasn’t derived from his reaction, but rather from the ripple effects they created throughout the galaxy at large.

With “Star Wars” making its comeback on the big screen, I am eagerly anticipating that the franchise will take inspiration from the innovative approach of “Andor”. Although the “Star Wars” universe is already expansive, and there’s a wealth of existing stories to explore, for it to endure, it must also create fresh narratives. The success of “Star Wars” lies in its ongoing development. Emulating the way “Andor” cleverly integrates new planets, cultures, technology, and characters with the familiar, is the path that will keep the franchise relevant.

All episodes of Andor are now available to stream exclusively on Disney+.

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2025-05-14 23:50