Introducing Andor Analysed, Part 1: The Roots of Rebellion in Star Wars
Jamie Woodcock
This collection of essays covers the first season of Star Wars Andor, the fourth live-action TV series released since Disney purchased the franchise. This introduction to the collection lays out some of the key issues that make Andor worth exploring in the following essays.1 The main reason for bringing together the collection is that Andor surprised many, both existing fans of Star Wars and new viewers, with the potential for retelling stories of rebellion and struggle. Following Red Futures’ The Expanse Expanded collection, these essays focus on Star Wars from a new perspective, drawing on critical ideas from the left and Marxism.
While there were plans for multiple seasons, we now know there will be a second and final season leading up to the Rogue One film (which also gives the potential for a volume 2 of collective essays). We already know the ending of Andor before it even starts. The first season covers the start of the rebellion against the Galactic Empire, focusing on Cassian Andor's journey to become a revolutionary. Andor’s story ends after, with his death after stealing the plans for the Death Star.
A new direction
From the first episode, it is clear that Andor is a different entry in the franchise. It starts with Cassian shooting two corporate security guards. Unlike in Star Wars: Episode IV and its various versions, there is no confusion about who shot first. The plot follows Cassian as he tries to sell a stolen piece of Imperial technology, becoming further embroiled in the rebellion. Alongside this, the plot follows Syril Karn's attempts to track down Cassian for the murders. Through this, Syril comes into contact with the Imperial Security Bureau (ISB), providing insight into the machinery of oppression and those trying to live under the Empire.
The series takes a much darker tone than any of the other recent entries: The Mandalorian (2019-present), The Book of Boba Fett (2021-2022), or Obi-Wan Kenobi (2022). These lean into the space-Western setting, focusing mainly on the galaxy's edges. There is also less of the Disney-like emphasis of a franchise driven by merchandise sales (see, for example, Grogu or “Baby Yoga”). The closest Andor comes to product placement are the Kalashnikov-inspired blaster rifles used by the Aldhani Rebel cell - or the nod to the Death Star in Karn’s cereal bowl.
Andor goes in a much more deliberate political direction than the other recent series. Instead of the usual themes of Disney Star Wars, it focuses much more on the work of imperialism and the rebellion against it. No lightsabers, force powers, or Jedi superheroes are ready to fight the Empire on behalf of the oppressed. There is a sharp focus on people's daily lives in Star Wars on both sides. As Tony Gilroy, Andor’s creator, explained in an interview: “If you think about it, most of the beings in the galaxy are not aware of Jedi, and have never seen a lightsaber [… ] It’s like, there’s a restaurant and we’re in the kitchen. This is what’s going on underneath the other stuff.”2 There are scrap metal workers on Ferrix dismantling ships, prison labour, and the secret work of starting a rebellion - both with the organisation of a heist and the manoeuvring of Mon Mothma in the Senate. As Luke Hull, a production designer, notes, they wanted “to stay away from “familiar” Star Wars territory such as spaceships and deserts, and Tony’s writing put the story into people’s apartments and day-to-day work environments.”3
This approach can be seen clearly with Ferrix. The design of the planet started with the people who lived and worked there:
Tony [Gilroy] wanted a tight-knit community, a culture that was a mix of people with practical skills from all over the galaxy who had gathered here on Ferrix to work in one of the many aspects of the spaceship breaking and salvaging industry. We were looking for something that felt like it had a beating heart at the center, a history and stoicism, somewhere that would actually stand up to the Empire when put under the thumb. We were basically looking for somewhere to create a tinder box to kick-start the revolution and Cassian’s journey to the character he is in Rogue One.4
By starting with the conditions of people and their struggles against the Empire, the worldbuilding of Andor takes on a particular flavour. For example, the wall of workers’ gloves is a clear ‘visual detail that nods to how this culture works with their hands (and gets them dirty).’5 The story of Andor unfolds across the background of different kinds of work, communities, and their struggles.
The role of strikes
Events happening on set and in broader society have also shaped the series. For example, the writer's strike delayed the second series of Andor, providing some overlap between the story in Andor and the workers' struggles in making it. Diego Luna, who played Cassian Andor, explained in an interview:
I am worried for what’s to come, but obviously supporting the strike and supporting the union. It’s quite remarkable what we’ve seen with the writers and what’s happening today with SAG … It gives me hope to see people uniting and understanding the strength again of numbers and fighting as one. That is really an important reminder today of what we as citizens of this world need to be doing, finding solutions and working together to bring them because they’re needed. I really hope that this brings the best of everyone and that soon we can all be back working, in a much more fair and just scenario for everyone.6
Similarly, in August 2023, Tony Gilroy and Beau Willimon (the former WGA East President) addressed the Writers Guild picket line in New York. Willimon, who wrote episode 10, “One Way Out”, explained to strikers that “We know what the one way out is: its staying on these streets until we get a deal that’s fair.”7 They ended on a chant of “One Way Out.” Gilroy then spoke next, arguing that “we are the content. It is our ideas. It’s our ideas that fill the theme parks and the toy stores. It’s our characters on the lunchboxes and the Halloween costumes. … We are the natural resource from which the product is made, and we are tired of being strip-mined.’ He also finished by leading a “One Way Out” chant.
It is, of course, not the first time that a writers’ strike has impacted the plot and content of a TV show. As I have argued in my essay in The Expanse, Deep Space Nine (DS9) featured a unionisation episode (“Bar Association” S4E16) supported by the actors. As Armin Shimerman (who played Quark and was also on the board of directors of the Screen Actors Guild) explained, ‘people think of this as a comic episode. And it is, of course. But in truth, it's really about union-management problems … Although you don't see it on TV very often, this is something that goes on in America all the time.’8 There are also similarities between the shift in tone and storyline with DS9 from the existing Star Trek franchise and that of Andor and Star Wars. DS9 was marked by the focus on the characters' daily lives, whether with the struggles of Miles O’Brien, Kira Nerys, or others.
Unions and collective struggles
While there are no direct references to labour unions in Andor, there are plenty of examples of collective struggles unfolding in and around Ferrix. For example, in episode 3, the people of Ferrix bang metal pots and pans together as the Pre-Mor security land. There are parallels here to the Troubles in Ireland, both with the way a community responds to an occupying force, but also at Maarva’s funeral, which Gilroy has referenced as inspired by IRA funeral processions.9
There is a shift in Andor with the representation of collective action in Star Wars. While not immediately obvious from the films, there are unions in Star Wars. For example, although not present in the original trilogy, there are references in Star Wars Legends to the Miner’s Union (that attempted to overthrow Tagan Industries and establish workers control), Naboo Moon Mining Union, Orbital Transports Union (involved in a planet-wide strike), Pixelio Puppeteers Union, Sailor’s Union,10 Corellian Shipbuilders Union, Galactic Podracing Mechanics' Union, Exotic Entertainers’ Union, and Ugnaught Mechanics Union.11 There are also a wide range of guilds, some of which play a role similar to labour unions. However, one of the “heroes” of rebellion directly opposed unions. For example, Lando Calrissian, while the Baron Administrator of Cloud City, paid bribes to the Mining Guild so they would not organise ‘his’ workers. Indeed, after EV-9D9 steals the Iopene Princess while escaping Cloud City, Lando’s first concern is that he had ‘the threat of a strike to avert’.12
Rather than passing over these details - whether about the working conditions of the Besbin gas miners or the role of independent contractors on the second Death Star (as noted in Clerks) - Andor focuses in on them. As Tony Gilroy explained:
If there’s an overall thesis, it’s that I believe human behavior is more powerful than anything, and it sort of leaks like water through a spout, through anything you put it on. It rusts out everybody’s intentions. Whether it’s hitmen and organizations or law firms or huge corporations, or a marriage — what we need, what we’re afraid of, all the things that fuck us up, is more powerful than anything people design, and more powerful than any political system.13
These different kinds of human behaviour come through strongly in Andor, both with the emerging rebels and the Empire. There are insights into the daily lives of the rank-and-file on both sides.
Rebellion in Andor
Although the series is named Andor, the story is not a conventional hero’s journey for Cassian Andor. He is often not at the centre of the action or directing it. Instead, he finds himself at key moments in which other people are rebelling or acting together. There are, after all, plenty of examples of heroes’ journeys in which they singlehandedly lead a revolution against a totalitarian regime. Part of the appeal of Andor is the subversion of the hero’s journey. After Andor runs away, the community on Ferrix organises against the Empire’s occupation. Maarva provides her own eulogy, calling for a rebellion against the occupation. There are hints of underground organisations, including the Daughters of Ferrix. The rebellion itself is riven with tensions and the need for sacrifice. Luthen’s speech to his wavering ISB source, Kino revealing that he cannot swim, as well as Cassian’s future death which looms over the series. This is far from a straightforward hero’s journey.
On the other side, there are insights into the organisation of the Empire. Instead of Sith Lords running the empire, we get an insight into the day-to-day running of the ISB. This bureaucratic operation has more staff meetings than specular force-grip punishments. There are internal power struggles, with Dedra Meero and Blevin14 clashing over protocols. Andor gets an inside view of this after being imprisoned on Narkina 5. This part of the story includes a detailed representation of prison labour, something unusual for Star Wars. After a summary judgment, Andor joins other prisoners, making parts of the Death Star. Here, the power of the Empire is experienced like a panopticon, as the prisoners are managed through information asymmetry and electrified floors. The architecture of the prison is specifically designed to prevent collective organisation, with surveillance technologies, competition between work teams, and physical separation between groups of prisoners. Despite the challenges, the prisoners find a collective solution, with Kino Loy shifting from supervisor to militant.
While there has been more and less emphasis on politics before, many of these themes have featured in one way or another in Star Wars. It is important to remember that the original trilogy was a reflection on Nixon’s presidency and the Vietnam War. The stormtroopers are a clear reference to Nazi imagery, and George Lucas modelled the empire on both British and American imperialism. The original trilogy follows the rebellion but with much more of a focus on Luke Skywalker's journey. Despite their criticism, the prequel films tackle the rise of fascism and collapsing liberal democracy.
Part of the shift in Andor is due to Tony Gilroy’s interest in historical revolutions. For example, Gilroy explains the heist subplot was inspired by an account of Stalin’s bank robbery in 1907.15 Similarly, for Nemick, Gilory noted that ‘we always wanted a Trotsky: the young, naïve radical … If you’re going to have Cassian ingesting all of the possible forms of conversion to the Rebellion, we needed a dialectic character.16 This focus on historical processes of revolution brings a fresh edge to the commentary of Star Wars on authoritarianism, empire, and the possibility of rebellion. In taking in these larger social and political processes, it is also able to focus in the economic realities and daily lives of the characters. While there could be more fleshing out of the role of organised workers in the rebellion, the series focuses in on the dirty work on both sides of a revolution. The representation of the rebels themselves is not as clear-cut as in earlier Star Wars. It also raises important questions about the social basis of the rebellion - as well as what comes after the downfall of the Empire.
Chapter introductions
In “Cheaper than droids and easier to replace: Work, Labour, Automation and Organisation in Star Wars Andor”, Christoffer Bagger discusses the role of industrial labour in revolution, particularly through the Narkina Five prison arc, as well as the struggles on Ferrix. These industrial workplaces are contrasted with the imperial bureaucracy, senate, and emergent rebel networks. The chapter engages with the themes of automation in Andor, drawing attention to the ongoing importance of human labour in the Empire. Through this, the chapter also reflects on the ongoing struggles of creative workers in Hollywood.
The next chapter, “The Malignant Borders of Empire: The Aldhani and the Act of Cultural Erasure” by Sejuti Bala, focuses on the Empire’s colonisation of Aldhani, making comparisons to the Highland Clearances. The chapter discusses themes of colonialism, reflecting on the experience of North America. This is compared to the Empire’s domination of Ferrix. Across both, the chapter argues that Andor highlights those responsible for the Empire’s oppression, without resorting to supernatural villains.
In "Protest Without Music," Rykie Belles discusses watching Andor in relation to the death of their father and friend. Reflecting on Andor against the backdrop of the fight against the Cop City project, the chapter discusses themes of grief, defiance, and the fight for a better world. Weaving in music and poetry, it explores the role fiction and art can play in galvanising struggles to fight against Empire – both in Andor and closer to home.
Eóin Dooley, in "Why Does Andor Feel Different?", explores the distinctiveness of Andor within the wider franchise. The chapter discusses the criticisms that have been levelled at Andor. It discusses how the materiality of the series makes it stand out, as well as the shift away from the fantasy elements of Star Wars. This provides a new angle to Andor, refreshing the ability of Star Wars to offer a critique, particularly in relation to the “franchise fetishism” found in other recent Disney iterations.
In “Caught in the Sad Orbit of a Dead Calamity”, Fabio Fernandes explores the political economy of Star Wars, emphasising how little we learn about how the universe works. In contrast, the chapter discusses how Andor brings a new focus to this, particularly on Ferrix. With comparison to Wales and working class culture, the discussion opens up the political themes of Andor, particularly in contrast to the earlier films. Comparisons are also made to real-world struggles and political ideologies, as well as Gabriel Garcia Marquez’s Crônica de uma Morte Anunciada.
In "It Has to be You," Brian Howard explores the transformation of Cassian Andor, drawing parallels between his evolution and the principles of labour organizing, particularly the methods employed by the Congress of Industrial Organizations (CIO) in the 1930s. Initially portrayed as a self-serving thief, Cassian undergoes a profound change during his imprisonment on Narkina Five, realising the necessity of collective action and the importance of identifying and empowering organic leaders within the working class. Through Cassian's journey, Howard discusses the concept of organic intellectuals and leaders, emphasizing the need for grassroots empowerment rather than reliance on traditional models of leadership. The narrative highlights Cassian's recruitment and development of Kino Loy as a pivotal moment, showcasing the urgency and solidarity required for successful collective action.
Ted Marsden, in “Resistance on Coruscant: Lessons on Setting Fire in Your Own House”, focuses in on Coruscant as the backdrop for the rebellion agains the Empire. Amidst the gleaming towers, revolution is brewing fuelled by clandestine operations and courageous individuals living double lives. The chapter focuses Luthen Rael, Vel Sartha, and Mon Mothma, each contributing unique perspectives and tactics to the resistance effort. Luthen embodies the long-term strategist, willing to sacrifice everything for a future he may never see, while Vel represents the frontline tactician, navigating the complexities of rebellion with resilience and determination. Mon Mothma, a senator turned saboteur, exemplifies the internal resistance within the Senate. Through their struggles and sacrifices, Andor explores the moral ambiguity of revolution, challenging the notion of heroes and villains in a galaxy torn by conflict.
In “Workers’ Playtime: Andor, Nostalgia and Admonitory Retrofuturism”, Fiona Moore explores the concept of retrofuturism in relation to Andor. The chapter covers the broader landscape of retrofuturism, including its conservative, critical, and hopeful trends, situating Andor within the nostalgic television genre alongside other series like Stranger Things. It argues that Andor not only evokes the past in terms of style, but is a form of admonitory retrofuturism, urging viewers to reflect on the past and their own conditions, in order to change them.
In “Brasso’s War”, Aladair Stuart focuses on the character of Brasso in Andor. This highlights Brasso’s role as a quiet but significant force for change. Brasso works as a shipbreaker, providing insights into the labour and political economy of Andor. He becomes a symbol of resilience and community, embodying both kindness and leadership through his actions. The chapter explores Brasso's relationships, particularly with the droid B2-EMO, showing his compassion and commitment to protecting others. Ultimately, Brasso's role in sparking rebellion on Ferrix becomes a central theme, underscoring his significance in shaping the fight against the Empire alongside Cassian Andor.
In “This is What Revolution Looks Like”, Mike Towill, discusses the process of revolution in Andor. The series covers the transition from a covert network to the beginnings of the organised force that will become the Rebel Alliance. Through comparison with examples of historical revolutions – including the role of oppressions, the state, and ideology – the chapter highlights the complexities of these processes in practice. While the revolutionaries in Andor lack ideology, the chapter discusses how the references to the past play an important role, considering how this ambiguity mirrors other historical examples.
RK Upadhya, in “A Tale of Miners and Prisoners: Class Composition and the Roots of Rebellion in Andor”, explores the questions of why people rebel through a reading of Andor. Drawing on Workerism and the Black Panthers, the chapter introduces a class composition reading of Andor, particularly with the workers on Ferrix. It discusses the way in which this reading can help to make sense of Star Wars, while providing a broader reflection on what it means to be a revolutionary today.
In the final chapter, Py Writ in “Smacking Neoliberalism Over the Head with a Brick: Andor’s Revolution”, discusses the political themes in Andor. The chapter notes the way that media often reflects neoliberal ideology, while Andor has a clear abolitionist message, particularly in the Narkina Five arc. This critical comparison provides a starting point for a discussion of the difference between the artist and the owner, the “death of the author”, and revolutionary readings of Andor.
Each of these essays were written in response to an open call for contributions, which have then been collectively edited into this issue. This special issue is the second Red Futures publication, following The Expanse Expanded. We hope this collection can add to the debate and appreciation of Andor, particularly during the wait for the second season.
1. Developed from my review in SFRA, which can be found here: https://sfrareview.org/2023/07/21/review-of-andor.
2. Quoted in Brian Hiatt, “How ‘Andor’ Drew from… Joseph Stalin?”, Rolling Stone, 2023, rollingstone.com/tv-movies/tv-movie-features/andor-explained-season-1-finale-season-2-preview-1234626573.
3. Luke Hull, “Expanding on the Star Wars Universe Andor Season One”, ADG, 2023, adg.org/perspective/297-expanding-on-the-star-wars-universe-andor-season-one.
4. Hull, “Expanding on the Star Wars Universe.”
5. Roxana Hadadi, “Tony Gilroy Finale Interview”, Vulture, 2022, vulture.com/article/andor-tony-gilroy-finale-interview.html.
6. Esther Zuckerman, “‘Andor’ Star Diego Lune on the Series’ Relevance”, The Hollywood Reporter, 20223, hollywoodreporter.com/tv/tv-features/diego-luna-interview-andor-relevance-emmys-2023-1235560514.
7. Sean Piccoli, “Dispatches From The Picket Lines”, Deadline, 2023, deadline.com/2023/08/hollywood-strikes-beau-willimon-tony-gilroy-andor-1235527551.
8. Quoted in Terry J. Erdmann with Paula M. Block, Star Trek Deep Space Nine Companion (New York: Pocket Books, 2000), 315.
9. Zuckerman, “‘Andor’ Star Diego Lune on the Series’ Relevance”.
10. Wookiepedia, “Union (workers)”, Wookiepedia, starwars.fandom.com/wiki/Union_(workers).
11. Wookiepedia, “Commerce and labor guilds and unions”, Wookiepedia, starwars.fandom.com/wiki/Category:Commerce_and_labor_guilds_and_unions.
12. Judith Reeves-Stevens Garfield Reeves-Stevens, “A Bad Feeling: The Tale of EV-9D9”, in Kevin J. Anderson, Tales from Jabba’s Palace. (London: Bantham Spectre, 1995), p. 272-273.
13. Quoted in Hadadi, “Tony Gilroy Finale Interview”.
14. Played by Ben Bailey Smith, who also had a career as a rapper under the name Doc Brown, part of the British hip hop group Poisonous Poets.
15. Hiatt, “How ‘Andor’ Drew from… Joseph Stalin?”.
16. Quoted in Hadadi, “Tony Gilroy Finale Interview”.