Not easy every day to be the best series Star Wars to date by Disney since the purchase of the license. Especially as a prequel spin-off to the best film Star Wars Ponded to date by Disney since the purchase of the license. Inevitably, the crown weighs heavily on the head of this poor Tony Gilroy, co-series of Rogue One and responsible d’Andor.
Three years that we are waiting for the guy to finally reveals season 2 of his baby, touched like everyone else by the strike of the writers who struck Hollywood. Especially since he had not hidden it, Andor will have no season 3the events of this second batch catching upon those of Rogue One. It is therefore not to put pressure on him, but this return must both be up to the first season, and properly close the intrigue before the arrival of Jyn Erso. No pressure we said.
The story d’Andor season 2 begins a year after the end of the first, four years before the Battle of Yavin, a major moment of episode IV, a new hope. And from there … it is impossible for us to reveal the details to you without taking the risk of spoiling you key moments of the story. Basically, this season will endeavor to show the implementation of the rebellion and the star project of the death of the Empire, with an ever more active Cassian. In short, we don’t teach you anything, however, we advise you to give you a reminder of the first season before you start.
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Know, however, that the seasonal story was Cut into four separate segments Three episodes, with time jumps between them. We therefore start from 4 years before Yavin to finally arrive at the first scene of Rogue One. A division that will have great importance in the scenario, but also in our overall appreciation of the series.
Seen and hit it
You shouldn’t count on Gilroy to contravene his principles. If Andor Season 1 distinguished itself from other Disney productions in the distant, very distant galaxy, the second could only follow its traces. At a time when The Mandalorian or Ahsoka are fan-service fairs, the story d’Andor is not dictated by the universe Star Warsit’s the universe Star Wars the scenario tool. The showrunner is the only master on board and we feel that the success of the show allows him to have carte blanche, all the more with this second season.
Concretely, it is felt on the section written by the hand of Gilroy himself, the first three episodes. A part of its lengths and an intrigue that seems to be treading. Despite some strong scenes, we could almost structure the necessary around a single episode. Except that this is the profession of faith d’Andor. Either a series that has always had what to do with our expectations, our desires. Andor is a show where the character surpasses the great story, because it is their roles in the latter that make it exist.
Like a game of failure, the rest of the series will simply take advantage of the pawns put forward by Gilroy in this first segment, but always taking great care to follow the traced path, not causing ourselves that we will think. Many questions left out of the outcome of season 1 will not find an answer, creating as much a feeling of frustration as a pleasure to see where Gilroy wants to take us, without taking the marked paths. We don’t have what we expect, and it feels good.
Four series in one
Although the first two narrative arcs were entrusted to the realization of Ariel Kleiman, the next two were put in the hands of Janus Metz and Alonso Ruizpalacios. Likewise, if Gilroy takes the first quarter, Dan Gilroy, Beau Willimon, and the newcomer Tom Bissell take responsibility for their games. A creative process far from harmless since with ellipses as a point of separation, it offers a unique identity in each of the four segments.
Each screenwriter and director have their own piece of history and their responsibility to carry it out, with Gilroy by guarding global coherence. This gives Andor Season 2 A well -separated style, even in front of season 1, with a rise in crescendo as we get closer to Rogue Onebut, above all, each part will offer unique sequences, strong moments, sometimes dreamlike, sometimes spectacular, often tragic.
A rebellion is made of sacrifices
There is nevertheless a flaw in this strategy, because if we feel that Gilroy can take his time on his game, the poor Bissell imposes a rhythm at the run, the Snape One deadline. And this is perhaps the defect in the breastplate, Rogue One. The approach of the events described in the films is a thorn in the foot of a season 2 sometimes confusing speed and precipitation. If the frustration of not having what we wanted is to put in credit for the season, that of seeing the series plug in the intrigue that she herself created for lack of time does not play in her favor.
The blow of the ellipses is indeed a clever way to advance history without having to linger on all the elements of the story, but on the other side it sometimes overlook too often important passages of this same story. And the first sacrifices are the characters however so appreciated by Gilroy.
A central protagonist turns into secondary school, a secondary becomes main and then disappears, the failed return of emblematic characters for lack of space to exist … There is a kind of game of musical chairs where there is no longer enough time for everyone and the importance of arriving at the end sometimes takes precedence over the logical scriptwriting construction. As if the scriptwriters’ strike and the desire not to go to a season 3 had provoked number of compromises and cuts that are felt in the final result.
It is always easier to start than to conclude and Andor This is a good proof. Not that this season 2 is a failure, very far from it, but having designed a show and a film that complement each other, Gilroy also allowed them to sabotage. And the worst part is that we don’t even see how he could have done better, the sacrifices being more by necessity than out of envy.
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