If we can reorder the plot points of Andor, and arrive at similar emotional epiphanies, regardless of causes and effects, then suddenly we have to search for the one plot point that does matter and can’t be arbitrarily moved.
For Andor, that thing is probably the prison storyline. That’s the thing that keeps him away from his mother and it’s the only thing that delays all the other characters from coming to the same place in the end. None of the other storylines were allowed to really move forward at any kind of reasonable pace while Cassian was in prison. Think about it: At least one-third of the show was focused on Imperial operatives looking for a person they’d already locked up on accident.
In other words, there’s something contrived about the finale of Andor that works slightly against the naturalism the series so often strives for. Paradoxically, by not connecting more dots in this finale, by not making more callbacks to the way in which the show began (where’s Andor’s sister!!), the loosey-goosey plotting only makes the show seem less realistic, instead of more. Bringing Andor and Luthen back together makes clear that heroic journeys aren’t always straight lines, and that’s good. But I’m not sure Andor needed 12 episodes to make this point.
We know Andor season 2 will be different. The ending promises us that. It can be argued that Andor season 1 succeeds mostly by playing against our desire for a more straightforward adventure flare. That tension is what defines the series, and that’s mostly to its credit. It’s not trying to be a crowd-pleaser. And yet, there’s a fine line between making a narrative decision because it’s not what we expect and making that same decision because it makes sense. What remains to be seen in season 2 is if the show can pull off a bigger trick: Andor has successfully proven what kind of show it isn’t. But it’s still not clear if we know what kind of show it is.
In most, if not all of the Star Wars depictions, the Empire has been a big background boogeyman, an oppressive abstraction. This series shows it to be what it really is -- a cumbersome bureaucracy -- capable of responding with overwhelming force to each minor insurrection, but incapable of handling organized widespread resistance.In the original trilogy, the rebellion has already happened, but the audience has to get into it through Luke's hero action, and not in the way how it has happened in the Andor. In this series, the rebellion is the consequence of evidence that the audience has seen, while some of it has been dark for a lot of characters like it's in the real life.
I could guess what's coming in Maarva, the rebel granny's funeral, and I bet she would have totally approved it.
I know now why Maarva's death was so low-key. Her big moment was to come post-mortem.Maarva's partner, Cassius, the grandma and the bot are all part of the texture of Ferrix.
It kind of surprise me of how late Maarva's announcement came, as we now know that the first death star is completed in just few years. Not really much of us a chance to build up a rebel force, and once again, and just like in the Rebels, they are a major underdog.I wondered how much the funeral presentation had been altered by advanced knowledge of what holographic Maarva would say.
Totally missed that entirely. Can't see what the fuss is about though.
Not the only one who is puzzled by the end scene.
Not Saw, Kreeger, the other guy Luthen had in his pocket. You don't have to feel for them. I never have, because I don't like Saw either. He's a bit of crazy one and that's not good.I have to admit to feeling rather short-changed by the abject lack of depiction for the Saw Gerrera raid on teh power station,
To be honest, 1 or 2 minutes on the Spellhaus raid would have been nice, but we haven't even see Kreeger alive. Just heard about him. So giving the audience that display would have been awesome and not necessary.So why not show it? Was it a starfighter raid? Even 1 minute or 30 seconds of a CGI shoot-up / space battle would have sufficed. Instead, all we get is the empire celebrating in front of a tactical screen with lots of red blotches on it.
Wow, totally missed that there was another guy called Kreeger. I guess that explains why they didn't show it.Not Saw, Kreeger, the other guy Luthen had in his pocket. You don't have to feel for them. I never have, because I don't like Saw either. He's a bit of crazy one and that's not good.
To be honest, 1 or 2 minutes on the Spellhaus raid would have been nice, but we haven't even see Kreeger alive. Just heard about him. So giving the audience that display would have been awesome and not necessary.
From previous episode,Wow, totally missed that there was another guy called Kreeger. I guess that explains why they didn't show it.
That's the dialogue.Saw was geared up to go to Spellhaus raid, when Luthien was forced to deliver the news about the Imperial ambush. He wanted to tell Kreegyr that the job was effed, but the Buyer denied it for not wanting to lose one of his big players. To wage a war, you have to get dirty and for a grey it's fine that some of it get muddled.
Saw asked, "How do you know I won't tell him?"
"I don't," Luthien admitted. "I don't know what you'll do. It's far from ideal for either one of us."
Finally figuring it out, Saw gasped, "You're willing to burn him."
"You're the random factor," Luthien admitted.
"It's thirty men," Saw shouted, to which Luthien added, "Plus Kreegyr."
"So, you know his doomed," Saw said. "Which means you're either ISB or you have someone inside that you are protecting."
"Or I'm just a very good listener," Luthien suggested.
It was fine, and I really didn't want to hear full orchestra. It has its places and like I said in my post, I started the episode by listening into the Imperial March, because it's so iconic piece. It can set the mood, but I don't think it was needed, because the whole thing worked without it.How did you feel about the music?
Thank you Tony Gilroy.
The veteran screenplay writer and filmmaker did what some of us always knew was possible, but plausible? That was an entirely different proposition. Regardless, in doing so, he made the best Star Wars product since the original trilogy and I would dare to say possibly ever.
That product is the show Andor.
Interesting take. Once again we have a critic who really loves ANDOR and who hits a lot of true themes. Good writing, Good sound track, Interesting characters, Good dialogue. ---- And then tells us: "This is easily the least watched Star Wars." "Please, give this a chance or Disney will have learned nothing at all." ---- To me this speaks of the true issue. There are a few people, let's say 10 percent. Who look for real quality in their "movies" and they want things like the above. But most people go to movies because they want pure escapism. They don't want to ferret out the motives of the villain. They don't want to see the fatal flaws in the heroes. They want a struggle between good and evil, where good wins, but evil continues to lurk for the next go round. And if it comes with some really cool stuff like light sabers, speeders, and dragons and things like that, all the better.
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