Source : the age
Andor (season 2) ★★★★★
It’s impossible to overstate just how good the second and final season of Andor is. This is simultaneously a Star Wars show for the fans and a rollicking ride for the don’t-give-a-damns, utterly satisfying whether you’re steeped in canon or have avoided it like the plague until now.
Diego Luna returns as Cassian Andor in the second and final season of the Star Wars series Andor.
Andor feels complete, though it is, in fact, the backstory to a backstory. Chancer-turned-revolutionary Cassian Andor (Diego Luna) played a key part in securing the plans to the Death Star in the 2016 film Rogue One, and those plans allowed the Rebels to target the planet killer’s weak spot in the original 1977 Star Wars (yes, the chronology is confusing).
But across its two-season arc (a condensed take on what creator Tony Gilroy originally conceived as a five-season series), it has given the franchise something it has never had before — a sense of being grounded in the real.
Of course, there are still hovering vehicles, fantastical creatures, the mumbo-jumbo pseudo-spiritualism of The Force, but they are largely peripheral, and used sparingly. Andor isn’t completely averse to fan service, but it offers it only when it works for the story and the complex world building.
Gilroy’s approach — and it’s radical and invigorating — has been to treat the universe created by George Lucas far more seriously than Lucas or any of his inheritors have before. It’s a materialist rendering, almost Marxist, that lays bare the machinery of the fascist state that is the Empire in order to critique it.
Ben Mendelsohn is superb as Director Orson Krennic in Andor.
The strip-mining of planets for their mineral resources; the enslavement of indigenous peoples; the deployment of propaganda and complicit media to sway populist sentiment (a particularly strong theme this season); the use of surveillance to sniff out and suppress opposition; the brutal turning upon its own as the ultimate tool of intimidation. In all of this we can see echoes historical and contemporary. And in none of it, sadly, does it feel as if Andor is straying even a little from the realm of fact.
But it’s not just the Empire that gets the laser-eyed treatment (and a big shoutout to Ben Mendelsohn, who is superb as Orson Krennic, the officer in charge of bringing the Death Star into being). The Rebel side chews through people, too.
Luthen Rael (Stellan Skarsgard) teaches Andor that the cause outweighs all else; Mon Mothma (Genevieve O’Reilly) has to finally decide whether to put more than words on the line in the fight for freedom; and the Rebel forces are disparate, fractious, united in their opposition to the Empire but in almost nothing else. The risk that victory might produce a new boss, same as the old boss, is palpable.
Lest all of this make Andor sound overly dire, rest assured, there’s plenty of swash and buckle to be had. And the characters are far more complex and three-dimensional than we’re used to in this world; even as you’re drawn to despise Dedra Meero (Denise Gough) of the SS-like ISB, you can’t not note the conflict she feels at the cost of only following orders.
Not all the Star Wars spin-offs have justified their existence, but Andor does that and so much more. By the time it ends, it has not only delivered in spades, it has made the entire web of stories feel more coherent, rounded and real. In short, better.
Andor (season two) streams on Disney+ from April 23.
