Why Andor is the most exquisite Star Wars content ever produced
You may disagree, but hear me out
There are few franchises that can match the cultural impact and longevity of Star Wars — even after more than four decades it continues to surprise and delight audiences with new stories and characters that expand its already vast universe. One such story is Andor, which premiered on Disney+ in 2022.
The series is set during the early days of the rebellion and tells the story of Cassian Andor, a rebel spy introduced in the film Rogue One: A Star Wars Story. It’s a backstory few asked for, but it has turned out to be the best thing to happen to Star Wars since the franchise began. What makes Andor truly unique is the depth and complexity of its storytelling, which elevates it to the status of — and I don’t say this lightly — the most exquisite Star Wars content ever produced.
At the heart of Andor’s greatness is its commitment to character. Cassian Andor, played once again by the brilliant Diego Luna, is haunted by his past and consumed by his mission. He is a man who has made difficult choices and lived with the consequences. In Andor, we see Cassian struggle with his demons and make sacrifices for the greater good. And through it all, we are reminded of the humanity that lies beneath his rough exterior.
But Cassian is not the only character that shines in Andor. The series boasts an impressive ensemble cast including Stellan Skarsgård as Luthen Rael, Fiona Shaw as Maarva Andor, Adria Arjona as Bix Caleen, and Genevieve O’Reilly who reprises her role as Mon Mothma.
The sets and costumes are meticulously crafted, evoking the grit and desperation of a galaxy in turmoil (save for the lucky surface dwellers of Coruscant). But it is the little details that truly elevate Andor. The way the camera lingers on a piece of equipment. The way the lighting changes to reflect a character’s mood. These are the small touches that make Andor feel like a fully realised world that exists beyond the confines of the screen.
The score composed by Nicholas Britell is at times hauntingly beautiful, and never fails to capture the melancholy and hope that define the rebellion. Like Michael Giacchino (who was the first after John Williams to compose for a live action Star Wars project when he did the score for Rogue One), Britell has proved his worth, tying Andor and Rogue One together musically in a way that connects their stories.
And then there is the writing. Two contrasting monologues stand out and capture the essence of what makes Andor so captivating.
Rael’s elevator monologue brings home the loneliness and isolation that comes with being a spy and the personal toll it has taken on him — it is a powerful reminder of the sacrifices people are willing to make for a cause they believe in. As in the rest of the series, Skarsgård’s performance in this scene is exceptional. He conveys a sense of gravitas and weariness that gives such weight to Rael’s words you can feel them passing through you. Rael is a man who has seen the worst of war and been scarred by it. Driven and ultimately trapped by his ego, Rael’s anger is not just directed at the Empire, but himself. There is a depth and complexity to Rael’s character that is rarely seen in the Star Wars universe.
Then there was Maarva Andor’s rallying call. With fierce determination and a commanding presence, Shaw shines as Maarva and delivers an impassioned speech that galvanises the people of Ferrix to stand up against their tyrannical oppressors. Her words resonate because she speaks the truth to power. It is a truth she and others had been wilfully blind to, but which they can no longer ignore. “We’ve been sleeping… I’ve been sleeping. I’ve been turning away from a truth I wanted not to face.” As her words echo through the streets of Ferrix, the fear that kept its people sleeping makes way for hope, and sparks a rebellion that sets the stage for a dramatic and transformative struggle for liberation.
There is a sense that Rael, who is among the crowd, has also had his eyes opened. Rael questioned his eagerness to fight, but here is Maarva regretting that she never did. What’s more, she has the audience he so craves. Appearing as a holographic recording, she is not alive to see them hanging on her every word, but it doesn’t matter. She is not driven by ego but by a need for justice.
Writing this good is rare, and it is a testament to the calibre of the show’s writing team, which includes Tony Gilroy, Dan Gilroy, Beau Willimon, and Stephen Schiff. Viewers can feel the human cost of the Rebellion’s fight against the Empire and the bravery of those who have chosen to stand up against an oppressive regime, but they are also constantly reminded of the moral dilemmas and difficult choices inherent in any fight for freedom.
This is what truly sets Andor apart: its willingness to explore the grey areas of its universe. Star Wars has always been a franchise of clear-cut heroes and villains, with the light side of the Force battling the dark side. But Andor is the clearest departure yet from this binary worldview, challenging it by presenting characters who exist in the grey areas of morality.
Jedi are noticeably absent from the series, and for good reason — no Jedi could display such morally grey attributes as many of the characters in Andor do without the implication being they turning to the dark side. The binary of the light and dark side is what makes Star Wars feel magical, but in challenging this binary Andor feels real.
Viewers are confronted with the truth that there is light and dark in all of us. While we also see this play out in the three trilogies with Jedi, it is a slow burn by comparison, and the implication is one must choose one side or the other. Andor shows us that to be human is to exist somewhere in the middle, constantly being pulled both ways, and it plays on this tension masterfully. We can only imagine ourselves as Jedi, but we can see ourselves as Andor’s heroes.
Andor represents the best of what Star Wars can be. It is a series that is committed to character, pays meticulous attention to detail, and explores the grey areas of morality. It is a reminder that, even in a world full of uncertainty and turmoil, there is always hope, and to find it we need look no further than within ourselves.
Jonathan Meddings is an author and advocate from Melbourne, Australia.
