

Andor isn’t nearly that straightforward about it. It’s complicated and messy, with self-interested people juxtaposed against the idealists. Most of it is character-centered, soul-sucking spycraft tension like The Lives of Others or Tinker Tailor Soldier Spy, but then also exasperating bureaucracy as in Chernobyl–and Stellan Skarsgard is equally phenomenal in Andor. Your toys aren’t here either; no lightsabers, few scenes with the old droids, very little time in space. Most of the time you need the architecture and the stormtroopers and Imperial dress whites to recognize it as a Star Wars setting.
It’s completely different than any Star Wars screen production before it.



The wild thing is how this is a complete 180 for the marketing industry. They went through a paradigm shift into authenticity, or at least the appearance thereof, not all that long ago as millennials aged into their prime spending demographic.
That demand didn’t go away, but now as wide swaths of people continue settle more into a post-truth world, I have to imagine the most effective mass market communication is the kind that can successfully serve both sides of the divide at once, almost like quantum superposition. I think of the success of The Boys, which did well because it simultaneously carried a scathing critique of fascism and capitalism while presenting fascist “heroes” that some could see as validation of their beliefs.