Andor series: observations

Ha! I've stood on the peak of Snowdon on an unusually warm day in March (2012). I even have the pictures to prove it. Maybe I should share some of what I've captured of Wales with my digital cameras since in another thread (I've been living in Wales full-time since 2009 -- I'm from England originally). And yes, you're right that the Welsh flag is one of the more unique-looking ones out there. Funny, my old neighbour is French, and my present boss spent a good deal of time in Canada and the United States (he was a Walmart manager for many years), and has a slightly peculiar accent as a result. It's more diverse here than you might think. Perhaps a lot of us stay for the beautiful scenery and the more relaxed way of life.




Gotta admit, I love a good airspeeder. Sex on air.



Here, I have little disagreement with you. The prequels deliberately have a captivating vastness to them barely glimpsed in the OT.

For all of who sa the fourth episode, thoughts on this? is in spanish so I posted a google translate link: link

I agree that Andor shows more of the common people but I really don't get why people despise politics in the prequels but this is good for them.

I can't tell my thoughts of the show overall, the first three episodes feels like one big episode, because is just one story, and i liked the fourth one but I can't tell what to think about the show untill all epsiodes are released, all I can say it has potential.

What do you think about how Coruscant looks here? for one side it lacks the futuristic feel and creativeness of the prequels, feeling much like a real life city but I get thats the point to show how the Empire affected the planet.

The script writing and acting has improved under Disney the same way Pee-wee's Big Adventure would be improved if he just used a toaster instead of the breakfast machine.

Yeah, it's a zero-sum game, directly comparing the two. The Prequel Trilogy is a political allegory with a totally different focus and -- if you like -- sexual orientation to "Andor". The latter is very purposely looking away from the Galactic Senate and the big movers and shakers (mostly), its emphasis being on a burgeoning rebellion, juxtaposed with bureaucratic meanderings and double dealings. The human element is strong in both, just in a different way.   

Anyway, here's your link in full, so that we can see what is being referred to in the quotes below:

www-fotogramas-es.translate.goog/series-tv-noticias/a41457553/andor-disney-plus-star-wars-precuela-trilogia-episodio-4/?_x_tr_sl=es&_x_tr_tl=en&_x_tr_hl=es&_x_tr_pto=wapp



Indeed. Concision is a very underrated part of GL's approach. It is senseless to yank something out of context and moan that it's simply a "catchphrase". Padme is reacting in-situ to the immolation of democracy as thousands of senators cheer the ascension and de facto coronation of Palpatine as the uncontested leader of the newly-declared Galactic Empire. She is watching everything she fought against being roundly welcomed into being; and she encapsulates that betrayal in a single utterance. And yes, the line is memorable. "Man writes memorable dialogue for children. Therefore Star Wars was stupid before better Star Wars came along. Herp derp."


Yes. "Andor" derives a lot of its power because it is taking a more quasi-realist approach. And after the abject jettisoning of any real political intrigue or intelligence in the Sequel Trilogy, contra GL's wishes, the fact we finally seem to have gotten a Star Wars-based show from Disney with something to say, backed up by intelligent writing, is pretty shocking. One thing I do agree with the article writer on is the part highlighted above. "Andor" has some very crisp and alert writing, way beyond anything in any of the other Disney Star Wars media. This sort of pseudo-realism is new for Star Wars, and even more surprisingly, it is being done well. But, frankly, it was the original six films that made it possible for something like "Andor" to exist -- and it is wisely using many assets from those films to its advantage. Like the casting of Genevieve O'Reilly, who has only had two scenes in the series so far, but who has already proven to be a tremendous screen presence. 



The show appears to be unfolding in two- or three-episode blocks. Throw up its Wikipedia entry and the table of episodes and listed directors strongly suggests this to be the case:

en.wikipedia.org/wiki/Andor_(TV_series)

What we are going to end up with, then, if this pattern holds true, is essentially three feature films' worth of storytelling in this season, and another three (presumably) in the second and final season. It should also be noted that the first season of "Andor" covers one year in the protagonist's life (it's set 5 years before the Battle of Yavin and the events of "Rogue One"), while the second season is going to cover the remaining four. Ergo, if there are twelve episodes to the second season, as there are to the first, then each three-episode block of the second season could cover one year. As long as the second season goes ahead, it'll be interesting to see how they pull this off. The first season has been pretty slow-burn so far, but the second season could feel a lot more compressed. (The original plan was for five seasons).


I think Coruscant looks fine. It is certainly less otherworldly than the prequels, but not to the point of being unrecognisable. I think we must bear in mind that "Andor" is essentially a tweaked/modified version of the Star Wars universe and a lot of the rules it has played by so far. "Andor" adheres to a more modern sensibility. Of course, it still grounds itself in the basic lore of Star Wars, but some things are pushed into more of a present-day context. So, on the one hand, Coruscant still has its vast network of skyscrapers and lanes of traffic, but some of the buildings have more of a steel-and-concrete look than we've seen before. Similarly, there are 1970s-esque display screens and data tablets in the series, helping to keep it grounded in the basic aesthetic of the Original Trilogy, but some things are much more blatantly real-world, like the guy eating noodles from a cardboard carton at his workstation in the first episode, or the completely undisguised AK-47 assault rifles carried by the rebels on Aldhani in the fourth (which caused consternation a few months ago when imagery from this episode first appeared at the beginning of the show's second trailer in August). 

Those latter things are a bit eyebrow-raising, but I can see why they've chosen to push the boundaries a bit. There are also plenty of reminders of the higher fantasy scape of Star Wars. In the opening scene of the fourth episode, for instance, Luthen jumps into hyperspace -- just like all ships have done since Han jumping to hyperspace in ANH (even if his hard slam is more reminiscent of Han and Poe's more reckless piloting in the ST). His ship, too, is a neat combination of the final version of the Millennium Falcon (cockpit window) and the earlier version (body/fuselage) which was later abandoned for the iconic "hamburger" shape (the rectangular shape was instead realised, to some extent, with the Rebel Blockade Runner, and later the Radiant VII: the ship transporting the Jedi to the Trade Federation blockade at the start of TPM). There are some strong influences from conceptual artwork done for the younger Millennium Falcon in "Solo", too. Luthen also hands Cassian a kyber crystal necklace as a down-payment: both a nod to Jyn's kyber pendant in "Rogue One" and an obvious reference to the reality of lightsabers (and we get to see a ton more lore trinkets in his antiques shop on Coruscant). Luthen himself is very much like a ronin, instantly imposing in outline in his overcoat (to say nothing of Stellan Skarsgård's austere features and penetrating eyes in close-ups), bringing a welcome level of jidaigeki poetry into the hard-edged world of "Andor".

So far, I think "Andor" is doing a good job, hewing closer to a real-world look and feel in some regards, but still trying to remain faithful to the basic iconography and multifarious world of Star Wars. It is, of course, an interpretation: one branch on a vast tree. This branch, however, seems to be producing a lot of succulent (if slightly bitter-tasting) fruit.

LOL. It's true that "Andor" is, in some ways, merely able-bodied, versus the strained muscles and inflamed joints, or deformed limbs, of the previous Star Wars television series (and the empty-calorie fizzy drink beverage machine of the Sequel Trilogy). If "Andor" seems unusually articulate, it's only because the former pieces of Disney Star Wars media struggled to assemble themselves into coherent paragraphs and sentences. Its ability to speak -- and remember: "The ability to speak does not make you intelligent" -- perhaps only seems impressive because the bar has been set so low. That said, solid craftmanship is solid craftmanship, and I think the show has been delivering rather nicely so far; or at least not smashing any plates to the ground (which is impressive as it seems to be juggling a few).



Yes!

"Andor" needs your support. Competing streaming entertainments have a more popular bent, even though "Andor" benefits from the backing of Disney and the Star Wars name. People actually need to check it out and stream the episodes to send a message to Disney that well-crafted shows can be successful and find an audience.

The only word of caution I would sound, beside a general warning that the content is gloomier and not as much in the vein of genre Star Wars as anything previously released (while arguably being truer to the world and spirit of Star Wars in other ways) -- basically, as cliche as it sounds, it is more adult/mature:

Some people have expressed an interest in watching the show, but only after all the episodes (of the first season) have become available. The reason? They not only prefer watching a whole season in one go, but they've learned that "Andor" actually lends itself to that viewing choice, since the story unfolds slowly and is told across multiple episodes. The first three episodes were clearly released all at once because they comprise a single unit of storytelling. The fourth episode is the start of the next block and ends somewhat abruptly, setting up various moments and events obviously intended to unfold in the next episode and maybe the one after that. If you prefer to digest your entertainment in one heroic dose, it might be better to wait. 

Now, I was never really awed by "Rogue One" as many fans apparently were, but I'm really enjoying "Andor" so far. The mini-series format just seems like a better fit for what Tony Gilroy and the other writers and directors are going for. There's some real depth here. Although rather slow-going, I like the fact that the series is taking its time. Plus, it feels fresher, because the main characters aren't legacy characters. Obviously, Cassian himself first showed up in the aforementioned spinoff film, but he's not a "legacy" character like Boba Fett, or Obi-Wan, Vader, or Leia are. He's a bit more of an unknown quantity; as is father figure Luthen. Both Diego Luna and Stellan Skarsgård are very good in their roles. I didn't even much like Cassian in "Rogue One" (or rather: I never really connected with him), but this series has allowed Cassian to appear a bit more dimensional to me. He's a bit jaded here; and, at the same time, vaguely has a a leading-man status about him. Diego invests him with certain tics and mannerisms, all quite subtle, but there's a touch of levity to the guy that I appreciate here, beneath the sombre surface.

The one thing that'll keep you on your toes, I guarantee, is the sharp writing. Despite being serious and downbeat, the quality of the writing makes the series a joy to watch. The dialogue is written in a more contemporary style, but it feels entirely right in this series. Watch it and you'll discover what I mean. All four existing episodes also have outstanding direction and very solid cinematography -- and the production design is extremely good, too. One thing I complained very harshly about as the earlier series wound on was the amateurish shaky-cam theatrics of "Obi-Wan". The camera is still a little loose in parts of "Andor", but it's nowhere near as obvious or overbearing as "Obi-Wan". The lighting is also a lot better. The image is far more dense with superior contrast and saturation in dark scenes than in "Obi-Wan", with none of that series' muddy, grainy look (where it even became hard to see what was happening in parts of the last two episodes). The grading is a lot better in "Andor", too. Tones are suitably restrained, yet pleasingly fresh and balanced. The series somehow manages to have a moody, downbeat tone, but it never looks or feels particularly dour or dingy; let alone ugly. Then there's the music, which is sensationally textured and varied; albeit in subtle ways. The music in "Andor" has a personality and a vibe all its own, providing exactly the right level of accentuation, without ever obtruding or overpowering a scene or moment. Overall, the series is very well-made, with a great deal of thought put into it. It's definitely worth seeing.

Although I enjoyed RO, I was going to pass on this series as I never found Cassian Andor too compelling a character and I wasn't exactly smitten by the trailers. However, the encouraging substance and tenor of this thread is forcing my hand...

I'll be diving in soon! Thanks for sharing your thoughts, everyone!

Yup. Your screenshots really make clear how "icy" a show "Andor" looks (a guy called Cryogenic should appreciate a good icy aesthetic, right?). Maybe I hadn't noticed how icy until now. Cool! (Well, duh). It's also remarkable how cinematically hued and textured it all comes across as.


Aldhani presents us with a cold, refreshing landscape. If TFA was forest-lush in its middle section, "Andor" is no less revivifying in its frigid beauty -- after all, what is more refreshing than a hushed agrarian landscape and a chilly morning air? "Andor" is the cold-waking-shower-followed-by-a-warm-cup-of-coffee interpretation of the Star Wars universe.

That they've also managed to imbue the series with a subtle sense of spirituality is also interesting. Aldhani has something of a mystical, reverential feel to it; and hints of a Jedi-like "at one with nature" disposition, accentuated by Vel describing to Cassian the remaining occupants of the planet in their nearby surroundings thusly: "Nature lovers, mystics, dead-enders." The flowing waterfall behind her, along with the prominent river motif, also call to mind the concept of the Force: a life-sustaining energy that exists and moves between all things. 


These two screencaps are also near enough direct confirmation that the series has a serious ice-crystal theme going on. Lavish ceiling-mounted light fittings crown and hover over frosty character dynamics at secretive, immaculate table meetings between well-attired upper-echelon folk. Even the floors bear neat markings.


Yeah, and the Imperial officer, sitting to the hard left of frame, just obscures an old-fashioned display screen, which looks like something straight out of an Empire scene in the Original Trilogy. Meanwhile, Deputy Inspector Karn stands slightly displaced from his boss and the older men (the three stooges), still a tad youthfully defiant. And between them, a "Rogue One"-era Death Trooper stands guard over the control room in the background. There's also some obvious lens distortion at the edges of the frame. The cinematography of "Andor" is grossly good.




Eh... This is a bit daft, Joe.

At the risk of giving the guy extra views, here is the full video:



Title: Genevieve O'Reilly Doesn't Know Her Own Character In ANDOR
Channel: Not My STAR WARS
Uploaded: 21 Sept 2022

So... Genevieve O'Reilly is being castigated for purportedly not reading external SW material; or in her own words: "I haven't read the novels. I have been a part of this for a while and I certainly have played her at different moments, but I don't know the novels. I'm not sure what Tony (Gilroy) has excavated for source material." Which. Is. Fine. 

Why should an actor or actress be expected to know their part intimately, inside and out, based on external lore which is always subject to being modified or thrown out entirely? Might it not actually harm their performance, if they know more than they should (or more than they need to)? Hers is a unique portrayal, now inside of a unique series.

Anyway, I got a thrill from her saying, very firmly and authoritatively, "There is an understanding that there is an oppressive regime, that Palpatine is marching forward on that road to autocracy that we recognise..." Just hearing her say Palpatine: chills! 

So the bone of contention is O'Reilly asserting that "There is not quite a rebellion yet" -- which, as I understand things (I haven't seen or read a lot of external material, either), is technically true. Where is the full-fledged rebellion we know from the OT? Isn't it still coalescing at this point in the SW timeline (5 BBY)? It's really desperate on this video marker's part to then cite the "Obi-Wan" series and Roken actor O'Shea Jackson Jr. I mean, he even says, in the clip they use, "Roken is leading what we hope will eventually become what we know as the Rebellion." Operative words: "will eventually become".

Then they go back to the same interview with O'Reilly where she asserts, "Palpatine is not the dictator yet". Well, okay, he is *a* dictator, but I'm guessing she means he doesn't all have it his way yet. Prior to "Rogue One" and ANH, the Death Star has not yet finished construction and the Galactic Senate remains intact (even if it's largely a rubber-stamp machine for the Empire and Palpatine's desires). Cue a lengthy bunch of consecutive clips where O'Reilly is implicitly disproved (but not really) by the events and iconography of "Obi-Wan" and "Rogue One". Talk about griping and pettifogging! The Empire obviously begins formally existing from the moment Palpatine openly declares it in ROTS, but the existence of the Rebellion -- by its very nature (covertly hostile to the Empire and broadly seditious against its practices and philosophies) -- is more of a sketchy, hazy, ill-defined thing. That's how rebellions (versus oppressive governments) are. Sometimes, I wish Star Wars fans would shut up and go away entirely.

Right. If we delve into the matter using Wookieepedia:

starwars.fandom.com/wiki/Alliance_to_Restore_the_Republic


"Andor" is obviously going to cover ground relating to how the Rebel Alliance actually formed out of earlier rebel cells. In episode four, we just saw the title character being somewhat frostily taken in by one such cell, apparently under the care of Luthen.

Now, one might argue, this is just Disney canon and it doesn't count or something. But if that's one's general viewpoint, why bother paying any attention to the show at all? Either way, precisely where and when the Rebel Alliance came into being was never really explored by George Lucas. He purposely left it vague; even deleting those early "seeds of the Rebellion" scenes from ROTS. We got what we needed back then: basic allusions to the how and why, with all the finer details left for another time. There is obviously space for the new content makers to play around a bit before locking down specifics.