When Andor first dropped on Disney+ over two years ago, I didn’t think much of it. I figured it was just another unnecessary addition to the ever-growing Star Wars pile of slop. Then, as the praise started rolling in, I shrugged it off as overblown, assuming most of it came from people who’d only ever watched “popcorn” flicks and were now mistaking competent writing for brilliance. But once the Golden Globe, WGA, DGA, and SAG nominations started stacking up, I figured it was time to see if the hype was actually justified, and holy shit, Andor absolutely floored me. It showed what Star Wars could actually be when it ditched the Jedi nostalgia and instead focused on grounded, human stories rooted in political tension and mature, nuanced themes. In short, it’s the best Star Wars has been since the original trilogy nearly 50 years ago. So heading into season two, my expectations were sky-high and Tony Gilroy delivered another straight-up masterclass in television.
The second season of Andor picks up a year after the first season as Cassian Andor (Diego Luna) is now fully immersed in the Rebel cause. Performing spy and espionage missions for Luthen (Stellan Skarsgard), the rebellion is starting to gain momentum among not only politicians like Mon Mothma (Genevieve O’Reilly), but also among regular, everyday folks as they are hearing the Rebellions call as The Empire becomes more tyrannical. However, despite being loyal to the Rebellion, Andor’s loyalty is beginning to tremble as he wishes to retire and keep Bix (Adria Arjona) safe from the Empire.
Sticking to the same narrative structure as season one, Andor unfolds across four, three-episode arcs, each chronicling the four years leading up to the events of Rogue One. The first arc follows Andor and company as they continue to find their footing within the Rebellion, while Mon Mothma juggles political maneuvering with preparations for her daughter’s wedding, and the Empire begins shifting its attention towards the planet of Ghorman. The second arc centers on Cassian, Luthen, and Vel (Faye Marsay) as they start aiding the Ghormans in organizing a rebellion, despite knowing full well they’re outmatched and under-resourced, while Syril (Kyle Soller), now working under Dedra (Denise Gough), is dispatched as a double-spy on the growing unrest on Ghorman. The third arc dives headfirst into the brutal, bloody, and harrowing consequences of Ghorman’s uprising against the Empire. And the fourth and final arc? It zeroes in on the tense, ticking-clock days leading directly into the events of Rogue One: A Star Wars Story.
Each one of these arcs features some of the most competent, meticulously crafted filmmaking I’ve seen in any Star Wars project, period. The direction is razor-sharp, the cinematography is moody and immersive, the editing is tight and purposeful, and the score pulses with tension and emotion. Every element is firing on all cylinders, working in sync to tell a story that’s not just thrilling and edge-of-your-seat exciting, but also deeply reflective, emotionally resonant, and, at times, downright harrowing.
Tony Gilroy, along with his stacked ensemble of directors and writers, doesn’t just operate within the Star Wars universe, they elevate it. They take the familiar galaxy far, far away and strip it of the nostalgia-soaked comfort and reveal a setting that’s raw, vast, and filled with grounded, human storytelling. They’ve essentially issued a wake-up call to the franchise and its fans, proving that Star Wars doesn’t need lightsaber duels or Jedi meditations on the Force to be compelling.
They lean hard into the mature, unglamorous realities of rebellion: the moral gray zones, the psychological toll of resistance, the sacrifices made in the shadows, and the slow, suffocating machinery of authoritarian control. Themes like the human cost of war, the weaponization of ideology, the complexities of political power, and the existential weight of fighting for a future you may never see, all of that is baked into every frame. This isn’t just good Star Wars. This is top-tier television, period, and it just so happens to be set in a galaxy where hope is a rebellion’s greatest weapon.
And it’s not just the filmmaking that’s firing on all cylinders. Andor is probably the most real, lived-in Star Wars has felt since the Original Trilogy. There’s a tangible weight to everything. Filming extensively on-location, it grounds the series in an authenticity that green screen soundstages just can’t replicate. The environments feel raw, textured, and inhabited, not manufactured in post-production. It’s a return to that gritty, tactile aesthetic that made the galaxy far, far away feel so immersive in the first place.
And beyond that, Andor finally brings fashion back into the Star Wars conversation. The costume design here is some of the best the franchise has delivered since the Prequel Trilogy, and it’s not just about looking good, it’s about worldbuilding. Every outfit, from the Chandrila wedding attire to the rugged gear of rebel operatives, the costume design says something about the characters and the societies they live in. The clothing feels deliberate, functional, and symbolic, capturing the social hierarchies, cultures, and tensions in the world of Star Wars. It’s the kind of attention to detail that shows just how seriously this show takes its world.
Furthermore, Andor boasts what is easily one of the most underrated acting ensembles on television right now. Every member of the cast is absolutely on fire, delivering layered, grounded performances that breathe life into some of the most complex, nuanced, and genuinely human characters we’ve ever seen in Star Wars. These are Emmy-worthy performances across the board that will tragically, will likely never get the recognition they deserve.
Furthermore, Andor boasts what is easily one of the most underrated acting ensembles on television right now. Every member of the cast is absolutely on fire, delivering layered, grounded performances that breathe life into some of the most complex, nuanced, and genuinely human characters we’ve ever seen in Star Wars. These are Emmy-worthy performances across the board—tragically, the kind that will likely never get the recognition they deserve.
Then there’s Elizabeth Dulau, who absolutely steals scenes as Kleya, Luthen’s formidable and enigmatic assistant. She dominates the screen with a commanding presence and sharp delivery, hinting at layers of backstory and motivation without ever overselling it. Dulau is a breakout talent, and it’s only a matter of time before she becomes a household name.
Genevieve O’Reilly returns as Mon Mothma with a vengeance, delivering a performance that’s equal parts poised and unhinged. Watching her transformation from a high-ranking senator trying to game the system to a desperate revolutionary willing to sacrifice everything is one of the most compelling arcs in the show and O’Reilly sells every moment with poise, fear, and fury.
Kyle Soller gives one of the most quietly devastating performances in the entire series as Syril. His portrayal of a man slowly unraveling under the weight of indoctrination and obsession is tragic, unsettling, and painfully real. He captures how authoritarian regimes manipulate the desperate and the directionless, turning ignorance into fanaticism.
On the other side, Denise Gough’s Dedra is easily one of the best villains Star Wars has ever had. She’s ambitious, calculating, ruthlessly intelligent—and terrifying because she’s so believable. Gough plays her with a restrained ferocity that makes her all the more chilling. She doesn’t need a mask or a lightsaber to command fear—just precision, power, and conviction.
And let’s not forget the rest of the ensemble, who are all pulling serious weight into each character, no matter how small the role, feels lived-in and essential. It’s a testament to Andor‘s commitment to character-driven storytelling that the cast feels less like actors playing roles and more like people actually living through the slow, grinding birth of rebellion.
All in all, the second, and final season of Andor had an enormous weight on its shoulders. It not only had to bridge the gap to Rogue One in a way that felt organic and earned, but also deliver a satisfying conclusion to one of the most ambitious television series in recent memory. And by some act of God, it stuck the landing. Andor didn’t just meet expectations; it surpassed them, delivering not only the best storytelling Star Wars has seen in decades, but some of the finest work the cinematic medium has to offer, period. It’s a masterclass in how to elevate genre fiction into something profound, timely, and emotionally resonant. I’m genuinely gutted to see it end, there’s so much more I would’ve loved to explore in this corner of the galaxy, but as the saying goes, “Don’t cry because it’s over, smile because it happened.” And I will, even if I’m smiling through gritted teeth and misty eyes.
My Rating: A+
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