#tlj bts

[msuolo]

Man Fighting a Serpent (1893) — Gabriel Jules Thomas

[jadelotusflower]

So I finally watched Andor...

...and naturally I have thoughts (hey, it’s me). Maybe they're belated, seeing as this show was released almost two years ago, but I've been on the outskirts of the Star Wars fandom for a while now. This in and of itself isn't usual - I tend to drift between my core fandoms in phases, but since TLJ the GFFA hasn't really been a pleasant place to be so I haven't really had a reason to drift back to it for any length of time.

Which isn't to say I've avoided Star Wars altogether, dipping in when something piques my interest like Obi-Wan Kenobi (which I liked aspects of but ultimately felt like just a setup to the show I actually wanted to watch), and have absorbed some of the rest through cultural osmosis. Andor is a show I've been meaning to get to for a while, although it has been praised to the point of being overhyped (and there was a whiff of Not Like Other Star Wars to the critical reception) so I was concerned it would not meet expectations.

But I was pleasantly surprised as how much this show felt spiritually and aesthetically in tune with the original trilogy, and especially A New Hope, as opposed to Disney!Star Wars. Even if the tone and content of Andor is very different, it feels in conversation with the OT in a way the rest of Disney’s output has not - building on the story we already know, rather than trying replace or rewrite it as something else.

Aesthetically, we have the 70's vibe of the set design and costuming in middle-class Coruscant, the stark white jumpsuits and surrounds of Narkina 5 evoking Lucas's early film THX-1138, even the way we are plopped right into the middle of the story with very little exposition, but still eased into the narrative is very reminiscent of the first act of A New Hope. Thematically, of course we’re seeing the Rebellion in its earlier stages - small disparate cells of seditious activity directly acting against Imperial interests that will become the somewhat ragtag but nonetheless organised and unified Alliance.

While Star Wars was a cinema pastiche throwback to Flash Gordan serials and Campbell’s hero’s journey as an antidote to the grimdark antiheroes of the 70’s, in many ways Andor brings things back full circle to the grit of neo-noir. It holds a mirror up to the OT and lets us see the other side of the coin - and the full cost of victory. So many people have to die for Cassian to make it to the Rebellion - just like Cassian himself will die for the Death Star plans to make it to Leia, like Obi-Wan will die to ensure those plans make it to the Rebellion, and squadrons of rebel pilots will die so Luke can ultimately destroy the Death Star.

A stone is dropped in a pond, and we see the ripples but the stone itself sinks.

Overall thoughts

Tony Gilroy is the showrunner here, a veteran screenwriter notable for the Bourne films, and we can certainly see this influence at work. He also wrote The Devil’s Advocate, which is by no means good but I do enjoy in all its ott mythological monologues-and-accents glory, and seminal romcom (of my childhood at least) The Cutting Edge. He also wrote and directed Michael Clayton, which I have not seen but was nominated for several Oscars, including Original Screenplay, Director, and Best Picture (Tilda Swinton won for Supporting Actress).

Of course he's also a credited screenwriter on Rogue One, and I understand his contribution was mostly to the infamous rewrites/reshoots. I desperately want to read a full breakdown/bts of what went down with that film (well all of Disney-led Lucasfilm really) and see the deleted/original material, because I am fascinated. It's also interesting to note that Gilroy took over showrunning duties from Stephen Schiff pre-production. The show does very much feel like Gilroy wanted to make his own stamp on the Andor character and use him as a vehicle in his spy-thriller/political intrigue wheelhouse.

Reading some of Gilroy’s comments around the series had made me wonder how much of Andor being reflective/referential to the OT was intentional (on his part at least), and arguably Gilroy did overwrite the character of Cassian Andor so…there’s nuance. But as a story, to me it felt in tune with what I love about Star Wars rather than at odds with it, and that's what I appreciated most.

But first things first. B2EMO made it to the end! Finally, my expectations are subverted in a good way, because I love this little droid with all my heart. There are several key elements of Star Wars to me that separate it from other sci-fi/space fantasy and that is Jedi, distinctive aliens, and sentient droids. Obviously there's no Jedi here (nor does there need to be), my issues with the lack of aliens I'll address below, but when it comes to droids B2EMO fits right in, and we can assume is a precursor to Cassian's relationship with K-2SO.

Overall I thought the show was excellent (with a few caveats). What's impressive is the sheer number of characters and plots interwoven together, every conversation servicing character, the overall theme or setting something up that will pay off later, playing with coincidence and fate (the will of the Force), the interlocking domino effect. Arvel Skeen recognising the tattoo on Cassian's arm leads to a conversation of his history, but also sets up Skeen later offering to take and split the haul with Cassian (and getting killed for it). The raid on Aldhani triggers the Empire’s harsh new measures that gets Cassian sentenced to six years in prison, but also inspires the rebellion on Ferrix (via Maarva). The Aldhani heist is a triumph for Vel, but traps Mon’s financial contributions to the Rebellion by the Empire’s crackdown on banking, leading her and her daughter into an unwanted family alliance.

I'm a big proponent of Star Wars Dialogue is Good, Actually - not saying there's not clunkers or stilted scenes (the PT moreso than the OT) but there seems to be this weird consensus that Lucas-era dialogue sucks despite being some of the most quoted/referenced movies of all time. Lucas was creating a modern myth, of course a lot of it is arch and operatic. I love the dialogue in Andor too - which rightly gets high praise, and while it's arguably tighter, in many ways it's no more naturalistic than that of the Saga with everyone constantly speaking in metaphor, it's just pitched differently because this is a different genre (and the acting is uniformly excellent because they are actually interacting with each other and being competently directed).

There’s layers of meaning in almost every scene and subtle moments of foreshadowing that I really enjoy - Karis Nemik muses on the role of mercenaries in a rebellion that must use every tool and weapon at its disposal, and obviously Cassian starts out as that mercenary who will be pulled into the wider struggle, but this also foreshadows the importance of Han Solo - at first only out for the promise of a reward but ultimately instrumental in bringing the Empire down. But it’s not because he’s treated as a tool - as the Empire treats its workforce as tools - but because he’s treated as worthwhile, he’s valued as a person. The Empire casts people out while the Rebellion draws them in.

We also see this in the arc on Narkina 5, and the Empire’s tightening grip backfiring against them. In order to force the prisoners to speedily produce parts for the Death Star they work in close-knit teams, creating a close camaraderie ultimately allowing them to escape - because when you turn people into cogs of a machine, the machine can be turned back against you. Contrast this to the jockeying over position and territory and power in the ISB - they serve the Empire, but never at personal cost.

We see the Republic of affiliated systems from the PT turn into an Empire of conquered planets, where local cultures are subsumed into homogeneous Imperial rule. Even Corpsec is replaced by Imperial oversight, and we know that the Senate on Coruscant will be dissolved completely in ANH. But ultimately this ferments rebellion and unites the outcast and oppressed - the Keredians on Narkina 5 hate the Empire for their prison polluting the waterways, and so let Cassian and Melchi go. Cinta’s whole family was killed by stormtroopers turning her single minded focus to destroying them. The people of Ferrix respond to Maarva’s call and riot against the Imperial forces even though it will mean violent reprisal.

The Empire forges the weapons that will be used against them. As Nemik’s manifesto states: “The Imperial need for control is so desperate because it is so unnatural. Tyranny requires constant effort. It breaks, it leaks. Authority is brittle. Oppression is the mask of fear.”

And yet we're not there yet - it's important that this is still a Rebellion and not an Alliance, a disparate collection of segmented sedition with a myriad of agendas we see run by Saw Gerrara, Anton Kreegyr, Luthen Rael. They won't be a genuine threat to the Empire until they join forces, share resources and intelligence, and unite behind a collective goal. Although there may be sacrifices in this as well - Separatists, Partisan Front, Sectorists etc mentioned by Saw will either coalesce under the Alliance to Restore the Republic or be driven further to the fringes.

The thrust of Nemik's manifesto is that freedom is a natural state of being, while oppression is unnatural, and even though Andor has nothing to do with the Jedi it nonetheless echoes their philosophy: that the Force is in a natural state of balance, while the existence of the Sith who tap into the Dark Side upset this balance. As we see in Return of the Jedi, the balance is ultimately restored by the return to that natural state buffeted by the most powerful forces - friendship, love, sacrifice - forces that ultimately drive Cassian as well. While much has been said of the moral ambiguity and nuance of Andor, it's not incongruent with the OT, if anything it reinforces its power and message.

HOWEVER, I have my nits to pick - the lack of aliens is a serious flaw (and in particular, the lack of familiar aliens). In some cases they can get away with it and make subtle commentary - Coruscant is stark and grey as the centre of bureaucracy in stark contrast to the vibrant metropolis of the PT. Seeing the streets populated almost exclusively by humans where once it was a melting pot underscores the Empire’s segregationist policies. However the dearth of non-humans elsewhere - Ferrix, Aldhani, even the prison labour camp Narkina 5 - is disconcerting. These are places meant to depict the oppressive rule of the Empire and this undermines the strength of the rebellion as a group of diverse species fighting against the Imperial monoculture. It's odd, for example, that we see all the characters from Ferrix return except Vetch, the muscle employed "just to stand there" by Nurchi (a nice moment with Cassian!), and that Maarva's funeral procession seems entirely human.

Ultimately, I think the setup is much stronger than the payoff, and while I appreciate the slow burn, the show does have sometimes have difficulty juggling the plots. Once set up, characters are parked waiting to be incorporated into the narrative (it feels like we watch Syril stare at his cereal forever) and looking back not much actually happens to a lot of them- there are a lot of threads left hanging and not much resolution. Which is of course because this was only intended to be season 1 of 5, with each arc a year of Cassian’s life leading up to Rogue One. But sadly Andor has been given a second season only, leaving 12 episodes to wrap everything up, so ultimately I fear the show will feel like a slow setup and rushed conclusion, which is a real shame.

Cassian Andor

I’m went into this as someone who doesn’t really have a strong connection to Cassian as a character - I certainly liked him in Rogue One! But let’s just say he’s not my blorbo. And this not the backstory I would have expected for the character five years before Rogue One as someone who has “been in this fight since [he] was six years old.”

Diego Luna has such a charismatic presence and it is nice to have a more internal, insular character, but it’s kind of sad that Cassian is really the least developed character in a show ostensibly about him. It’s not really his story, but he’s the fulcrum (pun intended) around which most of the other characters pivot; this is a story of the rebellion of which he is just one part. So, I can see if Cassian fans may have been upset by his lack of focus, and I personally would have wanted to delve a bit deeper into Cassian Andor on a show called Andor, you know? And it does feel a little bit skeevy that the actual Axis (pun intended) of the show is Luthen in his middle age white man glory, with a whiff of Gilroy’s self-insert about him.

I do wish LFL would abandon simply naming their shows after the main character - presumably it’s for general audience recognition and algorithmic reasons, but my god how boring. If the show had been marketed as the ensemble it actually is I would take less issue with the lack of Cassian focus. But sadly I’m not sure we know that much more about Cassian at the end of the show than we did at the end of the first three episodes - or really, what it adds to his character and arc we see in Rogue One.

Yes he’s further radicalised by his experiences and is now presumably "all in" on the rebellion, but the events of the show are kicked off by Cassian searching for his sister which is a motivation that is all but dropped thereafter - although at one point I was half-expecting (dreading) it to be revealed that Luthen's assistant Kleya Marki was Kerri (and sidebar, Kleya - what a stone cold bitch! I love a stone cold bitch).

This plot will likely continue in season 2, but it felt a bit undercooked and too deep in the subtext given the prominence it had in kicking off the narrative. We get a flashback to Cassian’s childhood, but ultimately it feels like lipservice to his Indigenous heritage rather than true engagement since we don't see him reflect on it in any way, nor does it seem to have any impact on his choices throughout the series that seem primarily motivated by his life and relationships on Ferrix.

We get a strong start to Cassian and Luthen that peters out - he's intent on recruiting Cassian, but then writes him off when Cassian flees after Aldhani and wants him killed, then goes all the way to Ferrix for him, but is about to leave without actually doing anything? I know Luthen's meant to be ambiguous, but this is one area where plot is obviously driving things not character. I get that it was important for Cassian to be the one to go to Luthen at the end and choose the Rebellion unfetted, but the relationship is undercooked. I almost feel like the series is a procession of things that happen to Cassian rather than a journey I was on with him. There's external forces, but very little internal focus.

However, what I did love about the show was the thematic resonance that was happening on a macro and micro level - while the show as a whole is a mirror/reflection of the OT, we also see dichotomy in the character pairings that are mirrors and/or foils of each other in various ways - we have the two sides of the conflict being Empire and Rebellion (with Cassian stuck in the middle), and we are also shown conflict within those two sides.

Cassian is without a reflective character pairing because his true mirror is Jyn Erso, and seeing Cassian’s struggles here does give real weight to his “you’re not the only one who lost everything” speech - in many ways the show is his journey from being Jyn, to being the man who says to her “we don't all have the luxury of deciding when and where we want to care about something.”

Mon Mothma and Luthen Rael

The most obvious mirror/foil pair as the two sides of the Rebellion, although arguably we have a third prong in Saw Gerrara, and kind of a mirror in Luthen as Cassian’s mentor as Saw was Jyn’s - and I do wonder about the show that was a two-handed prequel with Cassian and Jyn growing up in different factions of the Rebellion, but alas.

The artifact Luthen gives Mon represents “a sun goddess and a serpent sharing the same mouth” representing their differing philosophical approach to fighting the Empire. As mirror characters they are alike in many ways - both of the privileged class and living double lives on Coruscant, but while Mon makes political efforts to move the needle on the Empire's activities in the Senate while also funneling money to direct but small rebel efforts, Luthen outright pokes the bear, sacrifices allies, and knowingly making things worse to swell the ranks of the rebellion on the hope it will speed up progress. There's more than a hint of the incrementalism/revolutionary dichotomy here.

It also raises a lot of interesting questions without (rightly) providing many answers - the struggle of the oppressed, the moral weight of insurgency and revolution. Is it right to intentionally provoke an oppressive power into reacting with violence in order to fuel a greater pushback against them? Is short term suffering justified if it achieves eventual victory, and is it right for the few to decide what is a justifiable sacrifice? What are our responsibilities to each other under the threat of/struggle against authoritarianism? As social commentary it's more timely than ever.

Whether Mon or Luthen is right for the viewer to decide, although as Leia tells Tarkin in ANH: "the more you tighten your grip, the more star systems will slip through your fingers." On the other hand, we know Mon survives to the end of the Empire while Luthen (I assume) will not. She will become a leading figure in the Alliance, and eventual Chancellor of the New Republic, while he will be another stone at the bottom of the pond.

This is foreshadowed in the dialogue (with a direct mirror reference):

“I’m condemned to use the tools of my enemy to defeat them. I burn my decency for someone else’s future. I burn my life, to make a sunrise that I know I’ll never see. No, the ego that started this fight will never have a mirror, or an audience, or the light of gratitude."

Arguably however, the mirror is the show - we are the audience.

We know Cassian joins Luthen at the end of season 1, and will meet Mon in season 2, so it will be interesting to see him struggle between these two philosophies, although we can infer from Rogue One that he aligns himself (out of necessity) with Luthen's veiwpoint:

"We've all done terrible things on behalf of the Rebellion. Spies, saboteurs, assassins....And every time I walked away from something I wanted to forget, I told myself it was for a cause that I believed in. A cause that was worth it. Without that, we're lost."

Ultimately, the Rebellion needs people like Luthen and Cassian to make not only the physical sacrifice, but the moral one as well (noting our first introduction to Cassian is him killing an informant so he can escape) - people who play the Empire's game so Luke can ultimately reject the Emperor's.

But I had mixed feelings on the Mon Mothma storyline. It feels a bit off for Luthen to be her entrée into the Rebellion, when we know she’s been on the ground from the very beginning with the Petition of the 2000 (cut from ROTS, but still canon I assume). She just felt very isolated and fragile which is at odds with her quiet steel that we see in Return of the Jedi and Rogue One. I could maybe see this Mon in the early dark days, but only 5 years before ANH? A scene with Bail Organa would not have gone amiss just to give breadth to her rebellious activities.

We get to see Luthen visit Saw Gerrara on Segra Milo, why not give Mon a scene with Bail to show she has other irons in the fire rather than relying on Luthen? In Saw we see the rough and tumble of disparate rebel factions, I would have liked to see the political machinations of Mon and Bail to serve the metaphor even further.

She is more than just a bank for the rebellion, and I think in the effort to contrast Luthen and Mon there was a bit of disservice done to the latter.

And Mon’s loser husband - ugh. Okay they’re in some kind of arranged marriage but there’s very little substance, nothing us particularly revealed about Mon by including him. Other than her cleverly using his gambling debts to deflect her rebellion spending at the end, the story wouldn’t really have changed by him not existing, and in fact would have been improved by focusing more on Mon’s difficult relationship with her daughter.

But on a purely shallow note, I want her wardrobe!

Dedra Meero and Syril Karn

In some ways Cassian and Syril are the narrative foils and there are parallels between them - their conflict instigated in the first episodes, their maternal relationships, both essentially exiles for the middle section before both end up back on Ferrix where Cassian saves Bix and Syril saves Dedra. But I feel Syril and Dedra work better as mirrors, and their arcs also parallel and intersect.

In the Empire, Dedra and Syril are two sides of the other coin (there's quite a few coins in this metaphor). Regimes need bureaucracy, and you have the true believers, the status-climbers, and those just going along to get along. In Dedra we have the talented star of the prestigious Imperial Security Bureau, and in Syril the over eager Corporate Security officer, two arms of the Empire’s control, although the latter we see becoming obsolete as the former gains more control.

But they're both middlemen who chafe against the inaction of their superiors, both desperate to rise above their station (although those stations are quite far apart). Throughout the series their plots are mostly in parallel; they are reflections of each other without even having met.

It's uncomfortable to watch both of them on screen - all unblinking stares, sucked in cheeks, and pursed lips - fittingly repellent. I’m surprised Gilroy has said he wrote Dedra to be relatable - she skeeved me out from the first, someone clearly ready to step over anyone and everyone if it served her purposes rather than someone gradually drawn further into an authoritarian regime. There's the slight subtext of sexism - there's only one other women in the ISB briefing and Pendergast alludes to it, but that certainly didn't engender any sympathy or admiration from me.

In episode 7 Syril’s mother Eedy says “Everything says something, Syril” and chastises him about tailoring his uniform (just as he did in the first episode, a neat little character tell), and immediately after we see Dedra donning her uniform perfectly in sync with the rest of the ISB. He’s trying to stand out from the crowd, she’s trying to fit in - or, from a different perspective, Syril adjusts his collar to resemble the Imperial style as a signifier of where he wants to be, while Dedra is already there and still looking higher.

But both are thinking outside the rigid Imperial lines and command structures, both on the hunt for Cassian - although for Syril it's personal and Dedra it's about climbing the ranks. Both take it upon themselves to investigate against orders, but Syril’s attempts are clumsy and random while Dedra’s are clinical and targeted.

She identifies that “systems either change or die” to push the ISB’s fragmented and bureaucratic inefficiencies into a cohesive power structure, but while it wins her approval it doesn’t earn her any loyalty; her troops abandon her to the mob on Ferrix. Inexplicably though, Syril does manage to gain the loyalty of Sergeant Mosk, who was also punished for the initial blunder on Ferrix, but ultimately draws Syril back there to in search of Cassian.

The point at which they first intersect in episode 8, Dedra is on an upswing, she holds the power and sends Syril further down, but when they meet again in episode 11, the roles are reversed as he is the one to save her from the mob.

I just hope they’re going somewhere more interesting than his creepy crush.

Vel Sartha and Cinta Kaz

One of the major faults of Rogue One was its Smurfette Syndrome, where Jyn is a great female character surrounded by men, but Andor has pleasingly course corrected from this. See what happens when you don’t have one woman having to embody everything and bear the weight of her entire gender in the narrative (and therefore, also bear the criticism)? Andor happily treats its women as characters, not faux-empowering meme-fodder. Although there is perhaps some valid commentary that it’s still white women on the whole - Dedra, Mon, Vel, Maarva - who get the meatier roles, and I have my issues with Mon’s characterisation, but one thing I will give Disney LFL credit for is it’s ongoing efforts towards gender parity.

In Vel and Cinta we have two more sides of insurgency - from wealth and privilege in Vel, the cousin of Mon Mothma struggling with the weight of it all, to Cinta with her cold fire and unwavering drive, her family killed by stormtroopers and for whom the struggle will always come first.

Cinta’s cool reserve is a contrast to Vel’s nerves (as seen in the Aldhani raid); they’re coming from very different places even if their cause is the same. There may even be a bit of classism in the subtext - Vel leads the mission on Aldhani after asking for the mission from Luthen, when really Cinta is the one who is most committed, and she has to push Vel though several times when she falters.

Vel still has one foot in the Imperial world and the complications of rebellious machinations - worried for Mon and her family, wanting to prove herself to Luthen, jockeying with Kleya - but for Cinta none of that matters, she loves Vel but there's often a sense she's disappointed in her. There's a dichotomy within Cinta - she's not unfeeling, showing kindness to Cassian when he joins their group, yet accepting the mission to kill him later without hesitation.

It seems to me that Cinta is the revolutionary Vel wants to be but can't quite divest herself of enough to become - the metaphor is made explicit with these two - Cinta tells Vel: “I’m a mirror. You love me because I show you what you need to see.”

Which is a pretty interesting dynamic, especially as a romantic one, and I’m interested to see where it will go (and hope that Cinta will get more focus, even though I do love Vel a lot too).

Their storyline did run out of steam by the end through, was there any point to either of these characters being on Ferrix at the end? It very much felt like all the plot lines were being forced to intersect at the climax without all of them necessarily needing to. Although Cinta stabbing that guy in the heart was pretty cathartic.

Bix Callen, Maarva Andor, and Ferrix

I loved Ferrix as a location, with its own distinct aesthetic, culture, and populace - the work gloves all hung on the wall, the metal tapping warning system, the daily hammer and anvil (the Time Grappler, according to Wookieepedia), funerary practices. etc. The first few episodes set up Cassian’s community on Ferrix which we come full circle on in the final two, but I did have some trouble keeping track of who was who at that point.

It is interesting that the trope of “just another brick in the wall” is turned on its head here - rather than representing a cog in the machine, in Ferrix ashes of the deceased are mixed with brick and added to a wall in remembrance - a literal touchstone for Cassian as he remembers his adoptive father Clem. A wall is strong, a bulwark against outside forces, and every brick added makes it stronger. Stones dropped in a pond, bricks built into a wall - reminders of the dead that spur the will to fight.

I do love the relationship between Maarva and Cassian, especially in a franchise that has never really had an interest in mothers and sons. And we have another mirror in the overcritical and cold relationship between Syril and Eedy as the inverse of Cassian’s complicated but loving one with Maarva - contrast the reception Syril gets when he returns home to the one Cassian gets from Maarva, as ultimately Eedy's pointed disappointment is sharp where Maarva's is borne from love and concern for Cassian.

But again there’s a disconnect with the history we’re shown - Maarva and Clem kidnap/save Kassa from Kenari but we don’t really get any sense of how Cassian feels about it or the connection he has to his heritage/childhood. I’m not saying I need everything spelled out, but sometimes I feel the show does err too much on the side of subtext, and as a result we don’t delve as deep into some of the relationships as we could have. Even her final message to Cassian - that she loves him more than anything he could ever do wrong - is a beautiful sentiment, but is it earned? He hasn't really done anything wrong, arguably she did wrong by him by taking him from Kenari but it's never even mentioned, it doesn’t even seem to be a factor in their relationship as adults.

On the other hand, I didn’t mind the treatment of the post-romantic relationship between Cassian and Bix - there’s a sense of history there but it didn’t need to be explored further. Bix's involvement in the Rebellion is interesting though, it's implied she was recruited by Kleya through the black market but are her motives purely profit or does she have rebellious fervor? Luthen knows of Cassian through Bix - did she see him as a candidate for the Rebellion or just another person from whom Luthen could obtain tech? What piqued Luthen's interest from what Bix said about him?

I don't think all these questions need answers, but it is unfortunate that she does get a bit Damseled, spending most of the runtime threatened, captured, and then tortured. On the other hand, there's less to criticise in employing that trope when it's not the only one at work and the breadth of female characters on the show.

I do wonder if we will see Bix, Brasso, and B2EMO again though, or if they’re a part of Cassian’s past he had to leave behind to fully commit himself to the Rebellion.

On nostalgia, fanservice, and the state of the Star Wars universe

A tangent into my frustrations with the sequel trilogy, skip if you’re allergic to salt.

Andor has been lauded for its lack of fanservice, although I’d actually argue it’s a show that (perhaps despite Gilroy's intention) is rooted in nostalgia. Well, perhaps not nostalgia per se, but it’s a show that relies on the audience’s knowledge and affection of Rogue One and the Original Trilogy, and it’s successful because it manages to feel authentic and fulfilling rather than ham-fisted and overly meta - a story set in the Star Wars universe, not about the Star Wars universe.

I know Gilroy intended this to be able to stand alone, but would the story have the same resonance if we weren't aware where Cassian's path leads, that the efforts and actions of Mon and Luthern, Vel and Cinta, Nemik, Bix and Kleya, are ultimately justified? Perhaps it would work in a generic sci-fi setting rather than the GFFA, but would we feel as much watching it? Personally, I think not.

Because nostalgia isn’t inherently bad. It’s a vital part of how we consume media - the stories that resonate with us in childhood will continue to resonate in adulthood because they are foundational, it's a shortcut to that incredible feeling of discovering something new that's nonetheless something very old. It's partly why Star Wars was such a success in the first place - a mix of myth and fairy tale, matinee serial and Kurosawa - a familiar story told in a new way. And like in Hadestown, "we're gonna sing it again and again."

The problem with nostalgia is when it’s empty; window dressing intended to evoke that feeling but without any substance behind it, so it feels cheap and unsatisfying. Andor doesn’t completely escape from this (blue milk, mouse droid), but most inclusions feel organic.

Sometimes I think we go to far decrying fanservice, and of course it's subjective - as I like to say, everyone hates it until they’re the fan being serviced. But there is criticism, and then there's dismissing any references to existing material as mere "fanservice" and therefore contemptible. For example, I’ve seen the treatment of Luke, Han, and Leia in the sequel trilogy defended because to actually have them interact at all would be “silly fanservice” rather than natural because, you know, they’re family.

The difference, for me, is does inclusion of a known character/object/trope/line of dialogue serve the character and/or story, or is it Leo DiCaprio pointing meme, designed for “hey it’s the thing” nostalgia and YouTube compilations with no substance behind it? Ultimately, is the inclusion Watsonian or Doylist - and if the latter, what of the former justifies it.

Mon Mothma or Saw Gerrara in Andor doesn’t feel like fanservice even though they’re existing characters, because it makes sense to include them in a story about the Rebellion’s beginning and they had a part to play in Rogue One, to which Andor is ostensibly a prequel. Conversely Leia and Vader’s inclusion in Obi-Wan Kenobi (even if I did enjoy them both) tip over in the side of fanservice because they really have no place in Obi-Wan’s story at that point and require fanwanking around their dialogue in ANH (and to be fair, Lucas was guilty of this as well). I don’t need to see random object or minor character no 6 from the PT/OT/Clone Wars, iconic catch phrase shoved where it doesn’t make sense, or obscure Legends reference divorced from context, just tell me a good story! Give me characters to care about! Make me feel something! Andor did that, where much of the other Disney Star Wars content has not.

This is my fundamental, and possibly at this point, irreconcilable, issue. Disney wanted to get away from Lucas-associated Star Wars as quickly as possible, replacing every character, planet, and theme with their own wholly Disney counterpart, killing off Han, Luke, and Leia so the old and classic couldn’t distract from the shiny and new, tearing down the conclusion of the original trilogy only to try and tell the exact same story (just not as well). They did it so quickly and so shoddily that many were understandably unsatisfied, leaving Disney to frantically course correct, going back to the well and shoving nostalgia bait into every conceivable project even (especially) if it had no place.

If they’d actually had any sort of plan for the sequel trilogy, if they’d made their focus to conclude the Skywalker Saga in a way that even approached emotional resonance, imo the vast majority of the audience would be happy to move on and embrace the next chapter - new characters, new stories. But people can’t move on from the characters they love because the treatment of those characters and the post-ROTJ timeline was so unsatisfying. Luke wouldn’t have needed to show up in The Mandolorian to try and placate the fans if treatment of the character in the ST hasn’t been so abysmal.

So LFL have been stuck in this weird ancillary storytelling space, where every project seemingly needs to be adjacent to the Skywalker Saga but not actually engaging with the Saga direct - Han has a prequel film no one asked for, Rey is a Skywalker for name recognition only, Luke pops up in pointless cameos but isn’t there when he arguably should be (just recast the damn role already!), we get young Leia in a story where she has no place rather than in one she does, who knows what’s going on with the whole Ashoka/Thrawn/Heir to the Empire stuff, Boba Fett is There with a parade of Hey it’s that character/ship/thing with no contribution to the actual storytelling.

What does this have to do with Andor? Well, Andor is perhaps the only quality tv product of the Disney era, which is fitting since Rogue One is imo the only quality film of the Disney era (TFA being retroactively diminished by what came after). Andor is the type of story Star Wars should be telling - expanding the universe, using known elements and characters where it makes sense to do so, not a collection of ideas on a whiteboard thrown in front of an LED screenstage and a bunch of meaningless easter eggs.

To be fair, this does seem what they are attempting to do with The Acolyte (which I am actually enjoying!) but the planned Rey-focused post-ST film…eh. Admittedly I never bothered to watch Rise of Skywalker, but where can the story possibly go? Is there any investment at all after the mess that was the sequel trilogy? I can’t see how the narrative can possibly be redeemed at this point, which is a shame because I do believe it started with a lot of promise in The Force Awakens that was squandered by a lack of vision, planning, and oversight, and the bizarre need to brutalise and kill off the legacy characters, marginalise the genuinely original and interesting new characters, and waste the immense acting talent they had at their disposal.

They’ve made no meaningful in-universe progress after the ST, the New Republic and Jedi have to be rebuilt again, except Rey is going to do it this time somehow, so what what the point of the last 30 years in the timeline? It’s different with Andor - we know where his story ends, but the series only makes Cassian’s sacrifice stronger, there’s emotional resonance in seeing his journey to Rogue One in knowing that it’s in service of the overall victory of the Rebellion (however undermined that victory is made by the ST).

But I digress. This rant really ended up being kind of off topic - apologies.

Anyway. Andor is good! I liked it! Looking forward to season 2!

[raisedbythetv89]

ATTENTION RIAN JOHNSON AND DISNEY:

Release the BTS - non censored version- of adam and Daisy swearing CONSTANTLY while filming the throne scene in TLJ, them being in each other’s environments for all the force face times and adam carrying daisy in a fireman’s hold in celebration after the finished filming the throne room fight.

I cannot express how badly I need it.

If you have links or ANYTHING related to my requests please drop them in your reblogs ❤️❤️❤️

[piglet26]

Reylo Scenes: TROS Part 1

If there's one name I don't wanna hear about my Reylo it's Colin Trevorrow.

I will be referencing the novelization, BTS interviews, comics and visual dictionary cause how do I say this? All of that makes the movie more coherent. That's the main issue with the movie. A lot of information was left on the cutting room floor.

Side note: There is one line in the novelization "a kiss of gratitude" the way anti-Reylos clung to that shit, like, it was even in Screenrant articles. It's one line while the rest of the novel heavily supports Reylo. This is in the BTS video for the making of the film from the team.....

"What if your sort of soulmate in the force was your enemy? Circumstance pits them against each other, but the force bonds them together. They understand each other almost from a point of view of fate and yet fate has made them enemies" That's a great story! Genuinely that's a wonderful literary, cinematic and epic story.

Daisy Ridley, "The stuff with Adam always has been so emotional. Trying to find that balance of feeling the light side but also feeling the draw to the dark side."

Adam Driver "He learns that over the course of the movie that they're two halves of the same thing. I think it just, if anything, reaffirms what he knows intuitively and has known for a while but hasn't been able to articulate until he can."

Seriously Antis?!... Accept the shit, enjoy the ride and move on.

In the visual dictionary the information provided from Ren's perspective during the interrogation is "Kylo Ren feels an innate connection to the scavenger, unaware that they form a prophesied dyad." In the time period between TLJ and TROS, Rey and Ben actually have had a run-in with one another though they haven't had a forcetime since the TLJ.

General Hux quote from the novel 'Ren had no soft spots for anyone - except maybe the scavenger' No, maybe about that. Stormtroopers stay in awe.

The movie starts with (The most chopped up opening) bad ass supreme leader Kylo Ren for literally 5 minutes before he's co-pilot to dummy Palpy. In the novelization it's revealed what exactly he saw during the hut vision with Rey. "He’d glimpsed her parents in a vision, a poor, frightened couple eking out a meagre existence, surviving on the edge of desperation. He hadn’t been lying when he’d told her they were nothing, nobodies. But Force visions were filled with tricky truths and potential realities. Maybe he had missed something." No, her story hadn't been retconned yet.

Grandpappy Palpy offers Ren the Sith fleet if Kylo kills Rey (except he doesn't want her killed...Ren's the backup?) Kylo pursues Rey under the pretense that he agreed to kill her. Ren ain't even about that life. He's like oh sure! Get the fuck out of here.

Meanwhile Rey is training with Leia/R2D2 with the assistance of Poe and Finn. There's a moment when Kylo Ren is praying over his grandpappy Darth Vader mask and bridges his mind with Rey's (They should've done more with this in this movie).

We don't know if she's confided in anyone about her connection to Ren. It would have served the story better if she had.

The damn mask is back. *Eye Roll*

On Pasaana we have their first forceskype. In the movie, it's like two ex's running into each other and don't know what to say.  God bless Adam Driver and Daisy Ridley, but mainly Adam Driver for all the work he put into spinning mostly exposition writing into something swallowable. Yes, the dialogue is stiff, but Ren's motivation at this point is semi-layered. He warns her that Palpatine wants her dead not only because he wants her at his side, but also to protect her from Palpatine. Ruling alongside Rey has become Ren's greatest ambition. Ren and Rey mean King and Queen after all. In the novel, 'He wanted to kill the past, yes. Rule supreme over the galaxy, certainly. And the massive fleet on Exegol would help him do that. But the ambition that cut into his being was the thought of reigning side by side with her. They were connected. They had defeated Snoke. Together they would be invincible.'

Both Rey and Ren are so desperate for that connection. Both also understand how powerful they were and could be together. Their battle together in Snoke’s throne room features some of the best visual storytelling in the entire series. This is where you see them together at their best, showing the promise of the potential they possess as a unit. Not to mention the emotional depth they bring to the others lives. Both are looking for confirmation of the others feeling.

"I offered you my hand once, you wanted to take it, why didn't it?"

"You could have killed me. Why didn't you?"

 

Next scene is in the desert of Pasaana. The second Ren is on the planet she senses him through the force and he sense her. The infamous running in the desert to run you down trailer scene. Prior to the movie release people correctly presumed this was Kylo Ren, but thought it was a training exercise hahaha because it made no sense. The movie was released and it still made no sense unless you've read the novel.

Kylo Ren sensed her before he saw her. As he flew his TIE whisper along the flat desert, she was a bright presence in his mind, practically glowing with determination and ferocity. He finally understood. Han Solo was his past. But Rey was his light.

The dark side clouded his judgement and urged him to cut all the ties to light. In the end, the murderous impulses contradicted his deepest desire to have Rey for himself.

I'm actually more interest in the scenes in the last 3/4 so moving onto those.

[bluntblade]

It's a relatively small thing, but I think I'd feel much more confident about the Ahsoka show if it looked different.

I understand why Rogue One's look has become the default look in live-action SW, at least the shows (to the point that The Acolyte having a different aesthetic is a moderate talking point). It's a great-looking film which is probably the Disney one that people agree on most as good (I have reservations but sure, I like it a lot). And yeah, it makes a decent amount of sense to have Mando adopt that look, while with Andor, it fits like a glove.

But leaving aside the fact that a large part of R1's visual appeal is that Edwards and Greig Fraser are both great at shooting scale (with the shows inherently operating on a considerably smaller scale), the thing is that R1 looks pretty different to prior Star Wars films. There's a reason for that. Jyn and Cassian are much lower-key characters than our usual heroes in the setting (and to be clear, this isn't a judgement of whether anyone's a good or bad character) and the whole idea of their struggle is that it's about the Rebel boots on the ground, the heroes behind the heroes.

Is Ahsoka really that? In a way, yes, but it's also set to be a show about larger-than-life characters, one a Jedi and the other a Mandalorian renegade who paints anything within reach, including her own armour, and of course the third-biggest war criminal droid of the era (Chopper might have the biggest body count but he bows to BT-1 and Triple-0 when it comes to sheer sociopathy). They have adventures with space whales, discover the World Between Worlds and encounter oddball wizard beings who speak with the voice of Tom Baker and laugh in the face of Thrawn. There's a reason they benefited from the exaggerated designs and colourful, kinetic presentation of an animated show (and comics, especially the excellent Kanan two-parter).

And an explicitly toned-down realist style kind of pushes against that vibe. The MCU and the current slew of Disney remakes show this off a whole lot - they generally feature larger-than-life characters but skew hard towards realism, as opposed to creating a heightened reality (see Pacific Rim or Mad Max: Fury Road) where those big personalities would feel more at home. Heck, other Star Wars films do that - there's a reason The Force Awakens and The Last Jedi went for bright, vibrant colours (and why Steve Yedlin brought that soulful expressiveness to TLJ in particular). Without it you tend to end up with an odd disjunct where things feel... a bit dull.

In a smaller way, I think we've already seen that with Kenobi, aside from the general trouble that show seems to have had in the area of cinematography. That show often ended up just rather bland - Tatooine is largely pale grey, while the Fortress Inquisitorius and Vader's castle come off more dingy than true halls of darkness.

To be clear, I'm really hoping that Ahsoka Tano gets a good show, and that I'm proven wrong on the visual front. But I worry that we're looking at another SW show which (leaving the whole Volume thing and its constraints aside) opts for an ill-fitting default look, instead of embracing how diverse Star Wars stories can be.

[postsofbabel]

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[roguewn]

Mark Hamill meets Yoda in The Director And The Jedi: The Last Jedi BTS

[autumnlyyours]

The mood for today

[thisiscalmanditsdoctorreid]

Watching Daisy Ridley’s breakdown of TLJ throne room scene and hearing about Adam carrying her in a fireman’s lift is doing all sorts to me. Like 25 takes of fighting and he’s still got the energy for those cute antics?

[lilmisslunar]

Adam/Daisy moments from Daisy’s British GQ Shoot.

[agir1ukn0w]

Rian Johnson

SAME ENERGY

[pacificwanderer]

I wonder if the Force connections were still going on between TLJ and Episode IX because a year without the force connection and not seeing together is such a long time tho. But then I would want to see the drama between them once they finally see each other after not seeing the other for a year.

Hey Nonnie!

Yeah, I mean the drama would be great haha and I understand how it could be a compelling thing to witness for the audience, so I get the argument. I have a lot of feelings about Reylo, so I really am of two minds insofar as seeing them be angsty and in pain in canon is concerned LOL (as in, I don’t mind it in fanfic, but canon? MY POOR KIDS NEED HUGS NOT MORE TEARS), but don’t worry, I have zero impact on the outcome of the story, so my fluffy headcanons ruin nothing haha.

I’m going to try to get to a few anons that are similar in theme sooo, more under the cut:

There better be more Reylo scenes in IX. JJ needs to go all out when it comes to reylo scenes. I want them to touch each other more you know. Let Rey touch his hair and face. Let Ben touch her scar and untangle her hair. They also need to look at each other with knowing looks to signify that they are truly connected, they don’t need words to know what the other is thinking.

At the end of the day, it’s SW, not Star Romance (AS MUCH AS I WISH IT WERE OTHERWISE haha), but I’m sure we’ll get some good scenes to chew on. As far as I know, JJ enjoys romance and he’s pretty much the father of Reylo at this point, so I don’t imagine he’d go from what we got in TFA (where basically the plot was structured around these two characters having to meet), to like nothing in EPIX, esp given how popular their scenes were in TLJ (and TFA, tbqh). I am also majorly down for scar touching/reveals, SO DOWN.

I wonder if the teaser trailer that they will show in SWC would contain any hint of drama between Rey and Ben or just exchanges of dialogues but we don’t see them actually talking to each other because from what I observed from reddit and comments here and there, people are most excited of Rey and Ben interacting in IX.

We might get more than we expect! I imagine much of the plot (aside from the general, bad guys vs good guys fight!!!) will be kind of hidden. They do a great job with the trailers for SW and, instead of revealing the entire story, they just give us something to chew on for months (obsess over), and I prefer that. I hate watching trailers that literally give the entire movie away. Just makes me wonder why I should bother watching the movie at all! Whether people want romance between them, or just drama, I think both parties are going to be relatively happy when EPIX is all said and done.

I also fucking ready for the drama between Rey and Ben. I am pretty sure there will be screaming and crying and then when they finally calm down, they’ll talk civilly and voice out their feelings.

Haha! So many of you are super into the drama, and that’s awesome. I don’t know how much screaming there will be (considering Ben, all things considered, is actually really calm around Rey, which is pretty noteworthy, given how he is around literally everyone else), but she might be kind of pissed, given that she’s a little more angry than people seem to give her credit for (and that’s not a criticism on my part, I love this about her character). At any rate, I hope there’s lots of feelings in this movie. I’m such a sucker for feelings!

I hope we get to see more of Ben’s perspective in IX or he and Rey have the most screen time alone or together (is that selfish of me?). I recently just watched TFA and TLJ and we really don’t see much of him in either films despite being a co-protagonist.

I just checked the screen times for TFA and TLJ, and Adam has about 15 minutes in TFA and 23 in TLJ (Daisy has the most in both, 45 minutes in TFA and 33 in TLJ, respectively). I honestly hope that the plot is a little more focused and that the screen times are more balanced for the main characters (Fi//nn took a major cut in TLJ and I wish that wasn’t the case). I really do hope they focus primarily on the new characters, which seems to be a rather controversial opinion (and it’s my own and, as I have no impact on the outcome of the plot, lol who cares?). I have the OT for the original characters and the PT for their specific set of characters. I want to see more of the ST characters, but I’ve always been fine with story lines in SW that don’t center around the OT characters. We’ll see how it all goes!

Do you think if there is going to be a documentary, will they show the chemistry test between Adam and Daisy? I really want to see it. They have so much chemistry that it’s hard for me to imagine that they just winged it. I also imagined that they talk about how they were going to play each other off before filming TFA. Also do you think that both of them were already aware that their characters are going to be romantically involved before filming TFA?

I honestly don’t know that there was a chemistry test between Daisy and Adam. Adam was basically courted for the position, while Rey’s character was chosen after months of interviews and I think, given the timeline, they hired who they thought would work for the part. I think that John and Daisy had chemistry readings (they did, I was right) and, given that they had so much screen time together in TFA, that makes perfect sense (this interview also seems to imply that Daisy and Harrison had readings together too???). They’re great together. I think the hiring process for John was even longer. So, I think they wanted Adam regardless. We’ll have to see though. I’m sure they did readings together at some point (actually, I know they did because there’s video of them reading the script at the first table read).

As far as documentaries go, I HOPE SO because I love that shit. I know Ram and Rian have like 1800 hours of footage filmed from the production of TLJ, so I’d expect to see something like that pop up as a part of Disney’s new streaming service, Disney+ in the future. 

As far as romance, apparently Adam has been working with one specific piece of information as to where it was all going, so I’m sure he has an idea of what the character is supposed to accomplish and why. As for Daisy, she was always really sweet and seemed to enjoy tf out of the Reylo fandom back when she was on instagram, so I don’t think the concept is foreign to her. And, given her response as to whether Kylo is redeemable or not leans pretty hard into the “he’s redeemable” camp, it wouldn’t be a stretch to assume she knows what’s coming too. JJ apparently also told her during TFA who her parents were, so this conspiracy theory bullshit about Rian retconing it is ridiculous. So yeah, I hope we do get to see more of the process because I LOVE that BTS shit and seeing how they all work and what were their motivating factors for the characters and seeing how things shifted from concept to movie–yes yes yes!

Cheers all! Thanks for the chat!

[skyloreyn]

imagine kylo ren doing this every morning in front of the mirror to prepare for his day: "you are evil" *jump* "you are darkness" *jump* "your lightsaber's cool" *jump* "you didn't have to use any hair product this morning" *jump* "hux can't jump as high as you" *jump* "you're shredded" *jump* "and so is your v-card because you basically fingered rey last night" *jump*

[reyllos]

Daisy and Adam in The Throne Room Fight behind the scenes

[myflairway]

THIS IS IT

This is the ONE THING we were robbed of in The Last Jedi. THIS SMILE.

ADAM DRIVER SMILING IN THE BEHIND THE SCENES OF THE LAST JEDI.

THIS IS A BLESSED IMAGE. JJ ABRAMS, YOU BETTER LET BEN SOLO SMILE IN EP IX.