In a franchise that extends over decades and dozens of incarnations, it is difficult to do something really new. But in 2016, Snape One made a step that was practically unimaginable in the world of Star Wars: he killed everyone. Of course, some minor characters went alive – and some adults, such as Dark Vader, who were not particularly essential to this particular story – but the heroes that we had followed for most of the film all ended up giving their lives to the service of galactic rebellion. What could have been a biting thriller about a narrow escape instead ended as a tragedy on the noble sacrifice.
Unfortunately, Snape OneThe radical embrace of the fate of the decision was tainted by the decision to digitally revive the actor Peter Cushing, who died in 1994, so that he can resume the role of the commander of the star of death Grand Moff Moff Tarkin, and use the same technology to bring the princess of Carrie Fisher Leia without any contribution from the always alive actress. (Fisher died less than two weeks after the film was released.) Andora series on the origins of Snape OneRevolutionary Cassian of the Devil-Mai-Care Andor (Diego Luna). And this time, viewers could enter the series which had shocked them at the end of the film: these characters are not alive.
Of course, when AndorThe second season resumes, a year after the end of the first, most of the pivotal players are still alive and launch kicks: Cassian, his lover Bix (Adria Arjona), the senator and the future revolutionary leader Mon Mothma (Geneviève O’reill Meero (Denise Gough) and the ambitious official Syril Karn (Kyle Soller). will die, and each time the opening legend tells us that the story jumped another year, we are even closer to the end. (the season of 12 episodes, which will be presented at 9 p.m. on Tuesday, is divided into and will be broadcast in four three -piece episodes, each covering a year before the Death Star – A Battle Destruction of Yavin: The advance, but not even the Bor Gullet could not force me to reveal what is happening.) However, it goes without saying if characters as important as that for the rebellion – as participants or adversaries – would have kicked when the story of Star Wars in progress, someone in these films would have at least mentioned. In this sense, the final count is not a surprise: as Luthen says, with regard to the Empire, “we will drop them off or die by trying. What else is? “
Although AndorThe first season was published on a weekly schedule, it was not built as one – in particular episodes seemed to end almost arbitrarily, trusting the power of the franchise to bring back the viewers. His second and last season begins in the same way, with a story that moves so slowly that the series protagonist passes most of an linked and immobilized episode, and an entire BBY is devoted to the developed festivities and the political intrigue around the marriage of my Mothma’s daughter. But Gilroy and the other writers of the show, who include House house Creator Beau Willimon, THE Disaster author Tom Bissell, and Nightcrawler The writer-director Dan Gilroy (Tony’s brother; a third, John Gilroy, publishes the series), work in a scope that really deserves to be called Romanist, plunging into the daily aspects of life under the imperial rule that other entries in the series rarely take time to explore. It is the story of the way in which an entire galactic society, and not only an apolitical scroll, is moved to the point of armed insurrection, the light minor and the major injustices that push a people on the edge. George Lucas often said that the first Star Wars was inspired by the Viet Cong, but Andor actually follows this idea. (There is also a chapter which seems to be, in a rather visible way, modeled after the Dutch resistance to the Nazi occupation.) His rebellion is disorderly and brutal, sometimes morally troubled, holding the assurance what to do what is necessary and what is well concorded well. There are cold -blooded murders and terrorist attacks, explained but not rationalized, as well as a feeling of accumulation of what builds a guerrilla movement, and not only in terms of life. When it comes to representing the complexities of a populist uprising, Andor is Star Wars as The Battle of Algiers is a dorm poster from Che Guevara.
Andor is Star Wars as The Battle of Algiers is at a poster of dormitory of che Guevara.
It is also, to be fair, much less fun than the original Lucas trilogy. Gilroy largely puts the fantastic elements of the universe of Star Wars, extraterrestrials and monkish mysticism, although it always makes room for the occasional Wisecracking droid. It is a world in which the characters bleed from visible blood rather than simply falling when they are struck by a well of light. The heroes die from ignoble dead and the bad guys escape their right punishment. The rich texture of the sprawling social portrait of the program sometimes undermines the origins of Star Wars in the thrill of the narration of the pulp; Luthen’s elaborate patterns have more to do with John the square than they do Flash Gordon. And although it contains a cumulative Wallop, the second season does not have a unique scenario by galvanizing only the first escape from mass prison. (There is also no comparison with the manifesto of “Freedom is a pure idea” of the previous season, although there are several attempts to create a rhetorical spiel of similar impact.)
It is also a world in which there are many discussions on mineral resources, and the measure in which the Empire can plunder the natural riches of the planet prosperous without provoking the anger of its citizens. If you thought the best part of The ghost threat was its representation of intergalactic commercial disputes, you are in a treat. But if this element seemed to be a bizarre addition to the Star Wars Spatial Spatial Balayage Opera in 1999, it seems too relevant now, with daily alert reminders push-Alent how economic war can serve as a sliding path to authoritarian domination. I started watching AndorThe second season of the night, Cory Booker started his Senate filibusier, and I felt like I was seeing, looking at Cassian and Co. Build a movement against apparently insurmountable dimensions while the real resistance gathered vapor – a divided screen which pushed me to contemplate the importance of symbolic gestures in relation to the immediacy of the steering action.
Andor Also has a lower job to do, which consists in preparing the ground for one of the smallest entries of the Star Wars franchise. While the history of the show is close to Snape One‘S, Easter eggs begin to proliferate, which is inevitable but always something of disappointment. Unless you saw the film more recently than nine years ago, you can be confused for the reason why the camera seems to linger on certain faces not quite familiar. It’s a bit like being in a high school meeting and trying to place a classmate you have never really talked about. (There is also a prominent piece of overhaul, although it goes well.) But even if it is a prequel to a prequel, Andor Always find a way to give your story a feeling of weight and purpose, closing your own chapter before “look next” appears in the corner of the screen. For the first time in the 50th anniversary of the franchise, you emerge with a feeling not only for which the rebels were fighting, but who – ordinary citizens who looked under the yoke of the Empire and were inspired to reject it. Despite all his disabled opinion, it is also a program on the way people lived and how the appearance of tyranny can even poison the most commonplace aspects of domestic life. Gilroy always says to a fable, but it is an infused with so much complexity and reflection that he feels almost strangely real, a world in which you could enter directly. Never galaxy so far away close.
