Here we are, back again for a slightly delayed take on last week’s stellar episode of Andor! Subscribe to our Patreon and listen!

One of the many things that fascinate me about Andor is the way it makes you feel empathy, even admiration, for the employees of the Empire. Part of the explanation for this phenomenon is the simple fact that it’s simply a better written work of filmmaking than the vast majority of Star Wars material; of course the Imperials and their lackeys are going to feel more fully human, because everyone does. But even as the show chronicles the touch-and-go, knife’s-edge early days of the Rebellion, it paints portraits of Imperials you wouldn’t mind having a conversation with — if it weren’t for, y’know, the fascism. But still!

Take Dedra Meero, the Imperial Security Bureau officer trying her damndest to figure out the exact contours and scope of the nascent Rebellion. Thwarted by bureaucracy and backstabbing colleagues, she takes advantage of new laws passed in the wake of the Aldhani raid — the Patriot Act, basically — to work around those obstacles and get the information she needs from a galaxy-wide survey, instead of going sector by sector as mandated. And she gets results: enough information, she says, to prove her theory about a coordinated, galaxy-wide rebellion is correct. 

And instead of chiding her for breaking the rules or being over-ambitious, her supervisor, Major Partagaz, rewards her! He compliments her moxie and initiative, wondering how much better off they’d all be if everyone who worked for him displayed the same qualities. He gives her control of the sector previously under the command of her primary office rival. And he warns her to watch her back, knowing what kind of people they’re all dealing with. 

As played by Anton Lesser, Partagaz a charming guy, intimidating but insightful, the kind of boss you’re both scared of and kind of in awe of too. And Denise Gough plays Dedra as nothing but competent, strikingly so — truly skilled at her job in a way that makes you like and respect a person. These are remarkable, precise performances that endear you to the characters — I mean, again, if it weren’t for, y’know, the fascism. But still!

I reviewed today’s episode of Andor for Decider.

Stefan Sasse and I continue our breakneck pace of reviewing big genre shows with our latest podcasts on Andor, which we love, and The Lord of the Rings: The Rings of Power, which we do not love. The latter is the first time I’ve done a podcast where I got so emotionally exhausted that I literally had to ask Stefan to stop the episode. How’s that for a selling point? These are both Patreon exclusive, so go subscribe and listen!

Human, humane, and absolutely thrilling on a genre level, Andor, like Interview with the Vampire and House of the Dragon, proves that nerd-franchise filmmaking on television can be real television, with real stakes and real characters and real motivations and real complexities that can’t be resolved with a visit to the wiki. I’m so glad it exists.

I reviewed this week’s episode of Andor for Decider.

I spoke with Jeet Heer about Andor for his podcast The Time of Monsters at The Nation! Listen here!

Stefan Sasse and I return with our regularly scheduled weekly series, focusing on this week’s episodes Andor and The Lord of the Rings: The Rings of Power, both Patreon exclusives! Subscribe and listen!

I don’t know how else to say it about Andor: It is just flabbergasting to hear genuinely adult ideas and witness genuinely adult character dynamics in a Star Wars project. Rogue One is an antecedent of course, and I think some of the very early scenes in the original Star Wars — Luke arguing with his aunt and uncle, concerns about work and the harvest, politics as a threatening but distant cloud — have a similar vibe. But to see it on this scale, consistently, is just amazing.

Now, I totally get if it’s not for you. It might not be the kind of Star Wars you want. You might simply be sick of Star Wars in general or post-Lucas Disney Star Wars in particular. But man, get a load of this dialogue from this week’s episode:

“It’s so confusing, isn’t it? So much going on, so much to say, and all of it happening so quickly. The pace of oppression outstrips our ability to understand it, and that is the real trick of the Imperial thought machine. It’s easier to hide behind 40 atrocities than a single incident.”

My dudes, come on. Come on. Does this sound like a reality we’re familiar with or what?

(And yes, I understand the irony of an oppressive corporate entity like Disney presenting us with a ferociously anti-oppression message like that. But Too Old to Die Young and The Underground Railroad, respectively perhaps the most ferociously, brutally anti-cop and anti-racist works of art I’ve ever seen, were both funded by Jeff Bezos. Ooh, baby baby, it’s a wild world.)

I reviewed this week’s quietly remarkable episode of Andor for Decider.

My Illustrious Co-Host Stefan Sasse and I continue our breakneck podcasting pace with new Patreon-exclusive episodes on The Lord of the Rings: The Rings of Power Episode 6 (disappointing!) and Andor Episode 4 (invigorating!). Go subscribe and check ’em out!

Four episodes (though just two weeks) into Andor, and I remain shocked by just how good it is. And having made similar statements on Twitter, I feel the need to clarify and caveat a bit. Is it The Sopranos? No. But is it, say, Obi-Wan Kenobi? Also, no, and that’s a good thing. This is a real show, with a real message yes, but more importantly with real moments that are not necessary to move the plot or pop the fans with Easter eggs and references. 

There are going to be viewers and critics who are so disgusted with Disney Star Wars material that this simply will not penetrate to them, and that’s fine, I totally get it, it’s not hard for me to imagine being in that position too. But I’m too shocked by the show’s many subtle, legitimately subtle, touches of personal and interpersonal drama to share that disgust. Again, Andor is a real show. Given the machine that produced it, that’s a minor miracle.

I reviewed this week’s episode of Andor for Decider.

My illustrious cohost Stefan Sasse and I have posted not one but two Patreon-exclusive new podcasts, one on the most recent episode of The Lord of the Rings: The Rings of Power and one focused on the three-part series premiere of Andor! We’ve got a very ambitious schedule going on right now so there’s no guarantee of future Andor episodes, although at the rate TRoP is going we might decide to switch, who knows. Subscribe and listen! And hey, they’re at two different tiers, so you can select one that’s right for your budget!

And we can talk about how the villains of the piece are, unambiguously, cops — not even stormtroopers or Imperial officers, but literal boys in blue. They trash homes, they bully civilians, they beat a female suspect, they shoot an unarmed man to death for failing to comply. Sure, they work for a corporation rather than “protecting and serving” on behalf of the people. What else is new?

The point I’m trying to make is this: When George Lucas envisioned the original Star Wars trilogy as a story of rebellion against an empire, he was thinking of Vietnam and the American war machine. But that hard-to-miss metaphor kind of slipped into subliminal range because the Imperials were hard to see as American analogues; their overall vibe owed too much to Nazi Germany (“stormtroopers,” for god’s sake) and, honestly, their awesome white armor was too cool-looking in a faceless sort of way. 

Not so here. So far, Andor’s rebellion is one of normal people banding together to fight law enforcement. It’s shootouts with corporate security forces. It’s hidden nexuses of resistance to the everyday depredations of forces that seem too big to fight against, until someone does it. Success is not guaranteed, and will not entail a big award ceremony in a temple on Yavin IV. At best it might make some small part of the galaxy a bit more livable for the people in it, for a moment or too. Is that worth fighting for? Is it worth dying for? Is it worth killing for? The show, crafted so skillfully in so many ways by creator/writer/showrunner Tony Gilroy and director Toby Haynes, is on Disney+, so its radicalism only takes you so far, but still, it has its answer. What’s yours?

I reviewed the third episode of Andor for Decider.

The Disney Star Wars Universe is a fictional world in which plot is privileged over all, in which fanservice and Easter eggs are held up as superior artistic achievements to virtually any other aesthetic consideration. With that in mind, it’s worth saluting the fellow who did nothing else but bang a metallic drum that signals the end of the work day for the working stiffs who populate Andor.

Why is he there? Why does the show repeatedly take time out of its already truncated running time to show us his routine? Because it adds something, dammit. Because little details that are unnecessary for plot movement are, outside the auspices of major franchise properties anyway, the stuff that good drama is made from. They’re like the huge, very un-Star Wars drums that hit on the soundtrack just prior to the end of the episode: They stick out, and insist that you experience them. I don’t want to make too much of the guy myself — it’s just a couple of little moments, that’s all — but those little moments linger.

I reviewed the second episode of Andor for Decider.

As a score that’s more John Carpenter than John Williams plays in the background, out-of-focus lights pass by overhead. A man walks in the rain through a red-light district of an alien city, in which various life-forms attempt to entice passers-by through Amsterdam-style show windows. The man enters a brothel — later referred to as such, by name — where an exotic-dancer hologram cavorts and employees attempt to entice him to try various wares from various exotic locales. 

The man refuses; he’s looking for his long-lost sister, not a good time. In the process, he makes enemies of two corporate rent-a-cops, who follow him out of the establishment into a dark alley and stick him up for money. 

The man fights back, accidentally killing one of his muggers before getting the drop on the other. Rather than report the death to the authorities together, as the remaining assailant begs him to do, he simply shoots the other guy to death in cold blood. More moody synths play on the soundtrack. 

So ends the first ten minutes of Andor, Disney+’s new serialized Star Wars drama. It’s true that my knowledge of the material is not exhaustive. But it’s safe to say that based on what I’ve seen, these ten minutes are more interesting than everything I’ve seen from the Disney Star Wars machine since Rogue One — combined. 

I reviewed the excellent first episode of Andor for Decider.

Stefan Sasse and I take on Obi-Wan Kenobi in the latest episode of BLAH, available here or wherever you get your podcasts!

Which leads to a larger concern I have about the show: Why, exactly, does it exist? As with so many Star Wars tie-in projects, it dances between the raindrops of existing continuity, while occasionally shifting that continuity to its own ends. Like, we kind of knew Obi-Wan had to whip Darth Vader’s ass, because in A New HopeVader tells Obi-Wan he was “a learner” the last time they met. 

But establishing a pre-existing relationship between Obi-Wan and Leia—and in this episode, even Obi-Wan and Luke—adds a whole lot to the existing canon. And for what? A six-episode show with all the visual flair and emotional heft of a Star Wars Jedi: Fallen Order cut scene? I don’t think the game is worth the candle. (This is why stuff like “Why didn’t he just kill him when he had the chance?” is popping up in my mind—not because I’m some CinemaSins-style pedant, but because the project’s overall sense of mild aimlessness gave my brain a chance to question plot holes I’d otherwise overlook.)

I reviewed the finale of Obi-Wan Kenobi for Decider.

Overall, it’s hard to look at the episode as a success from a suspense perspective, though when you think about it, that’s nothing new. Star Wars has always been about characters we know aren’t gonna die anytime soon, with rare exceptions; its great trick was in constructing action set pieces so gripping that they make you forget. (Seriously: No one on the planet thought Luke Skywalker was going to get shot down during the attack run on the first Death Star, but if your knuckles don’t still whiten at least a little bit every time you watch it, I don’t wanna know you.) 

But a prequel show that features Obi-Wan, Darth Vader, and Princess Leia as main characters faces an extra challenge, just as the prequel movies did: We know, for a fact, that these characters survive, since we’ve seen their future adventures. For that reason, the action must be doubly exciting and inventive to maintain audience investment. 

Does the show deliver on that score? No, I don’t think it does. It’s true that there are occasional moments of menace or awe, like when the Grand Inquisitor sweeps back in to gloat, or when Darth Vader uses his incredible Force powers to stop an entire transport from taking off. (It’s a decoy transport, but still.) And of course there’s that nostalgic duel between Obi-Wan and pre-Vader Anakin.

But the battle between the Path folks and the stormtroopers is indifferently blocked and shot—it’s just a bunch of people shooting guns at each other and somehow missing despite the fact that they’re like four feet apart. The Imperials are so bad at this that Obi-Wan’s lightsaber-twirling presence on the side of the good guys is barely needed. The fight between Vader and Reva, at least, is supposed to be a one-sided affair, driving home Vader’s superior power, and on that count it succeeds. 

I reviewed today’s episode of Obi-Wan Kenobi for Decider.

All in all, it’s a brisk little episode that reminds me of nothing so much as a cut-scene sequence from a Star Wars video game like Star Wars Jedi: Fallen Order. (It doesn’t hurt that the game features a Fortress Inqusitorius break-in/break-out sequence of its own.) It utilizes the spartan Imperial aesthetic to create an illusion of impregnability, then shows our characters shattering that illusion. It’s a tried-and-true method of Star Wars storytelling that goes all the way back to Obi-Wan, Luke, Han, Chewbacca, R2-D2, and C-3PO’s adventures on the first Death Star. And there are interesting glimpses of how the Empire has handled Force-sensitives since its establishment, namely a hallway full of Jedi bodies in suspended animation that Obi-Wan stumbles across. Entombing the Force sensitive is at least part of the Fortress’s true purpose, and that’s some good Dark Side storytelling.

But the episode brushes past some of the series’ most momentous moments to date. Take that confrontation between Vader and Obi-Wan in the previous episode. That scene was already burdened by the filmmakers decision to wedge in a new face-to-face between the two old frenemies that had little of the mythic power of Anakin and Obi-Wan’s confrontation on Mustafar in Revenge of the Sith or their final battle on the Death Star in A New Hope. Now, its one moment of real urgency, Vader using the Force to push Obi-Wan into a fire so as to mimic Vader’s own injuries, gets brushed away with a quick dunk in a bacta tank. Hell, Obi-Wan doesn’t even stay in the tank for the doctor-recommended length of time! If this was all that was gonna come of that confrontation, why have it happen in the first place, given how it short-circuits the “circle-is-now-complete” loop between Mustafar and the Death Star?

I reviewed today’s episode of Obi-Wan Kenobi for Decider.

What we’ve got in this episode amounts to a fairly serious retcon of the relationship between Princess Leia and Obi-Wan Kenobi. Previously, he was simply the legendary warrior to whom a desperate Leia reached out for help as Darth Vader’s forces attacked her ship. Thanks to the event of this episode, though, he’s now a person she would remember, recognize, and most likely treasure for rescuing her as a kid. You can probably square this away with how Leia reacts to his presence in A New Hope—her excited cry of “Ben Kenobi?!?” when Luke tells her the old Jedi is on the Death Star with them now feels more justified, for example—but speaking personally, I’d have kept him an aloof and mysterious figure. This feels a little like how the prequels randomly made C-3PO a creation of Anakin Skywalker. Like, okay, but…why?

I reviewed episode two of Obi-Wan Kenobi for Decider.

A long time ago, in a galaxy far, far away, there was a school shooting. Armed gunmen burst into an academy for children and began firing at anything that moved. A teacher sacrificed her own life to protect her students, dying so that they might live.

If you came in search of escapism, look elsewhere: This is the painfully timely way in which Obi-Wan Kenobi begins. At this early stage in the series—the most ambitious live-action Star Wars project that Disney+ has yet unveiled—it’s hard to tell if this awful coincidence is for the better or for the worse. Driving home the horror wrought by the Empire and its architects gives this project an emotional heft that predecessors sometimes lacked. (In the very first Star Wars film, an entire planet—which we see in some detail here—gets blown up, and it’s barely a blip on the emotional radar.) But does the show’s story of a Jedi Master’s time in the literal wilderness merit this kind of seriousness?

I’ll be covering Obi-Wan Kenobi for Decider, starting with my review of the series premiere.

Ever since he strolled across the landing bay of the second Death Star in Return of the Jedi, ever since I held him in my five-year-old hands as a hefty hunk of Kenner-manufactured plastic, I have adored the Emperor. I’ve tried the other Dark Lords, and much as I might enjoy them, they’re just not the one: Sauron is a giant flaming eyeball, Voldemort is just Ralph Fiennes with no nose, Thanos is a finger-snappin’ Genocide Fonzie. But Star Wars’ Emperor Palpatine, the ruler of his galaxy and the series’ ultimate villain, is a star — pure evil in the form of a weird, wrinkly old fart who can shoot lightning from his fingers.

The Emperor rules. Figuratively, I mean, not just literally. And I didn’t need JJ Abrams to resurrect him in The Rise of Skywalker — now disappointing fans in a theater near you! — to convince me.

Why? Because he’s not just evil. He’s a dick about it. And that’s an evil I recognize.

I’m very excited to announce I’m now a columnist for the Outline! I kicked things off with an essay on why the Emperor rules and why, in The Rise of Skywalker, he rules less.