Surprise! Thanks to a very kind mystery contact with their own very kind mystery contacts inside of Lucasfilm (and/or Disney Plus), we were given last minute screener access to the Andor finale. And you better believe we hustled to watch it, prep our notes, and deliver the longest episode of our Andor season and one of the longest episodes we've ever recorded.
Come for our emotional reactions to the return of voices we'd thought we'd heard the last of. Stay for our dive into 2000s-era anarchist philosophy. And then rate us five stars for all the time we dedicate to talking about our very favorite absolutely rotten relationships.
ALSO: As a special bonus for our Patrons, we recorded our own live reactions when we group watched this episode together. Go to patreon.com/civilized, support us at the $5 level, and you can hear each of our exuberant pop offs, our surprised gasps, our wavering voices, and our howls for the most rancid of love stories.
Nemik went through a lot of passes. 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. Then we cast Alex Lawther. A lot of the rewrites and upgrading along the way is based on the cast, and the cast we have is so good. Even watching him audition, it was like, We can go anywhere. The campfire speech he gives in Aldhani was the can opener. When we finally cracked that, it was like, Oh, here he is. The second speech is the mercenary speech he gives Cassian in the morning, and that went so easily. The power of the manifesto — episode 11, that scene, we had kind of late. You get on a roll with those things, and you just try to break your own heart. You’re trying to write speeches for the things you believe in. Sometimes it takes a long time to find the voice, but once you’re there, they tend to go quick.
> You FLIP b2emo?
As promised, the Autumn of Andor continues! Today, we've got the first of three guest-filled episodes coming to you this December. We are joined by Adam Serwer, author of The Cruelty Is the Point: The Past, Present, and Future of Trump's America, staff writer at The Atlantic, and life long Star Wars fan.
We share and contextualize our final feelings on Andor, explore the tensions and consonances between the Lucas, Filoni, and Gilroy visions of the franchise, and (if you are very patient) try to unravel whatever the hell was up with that Karn/Mosk hat swap.
In our final episode of the year, we're joined by Kirk Hamilton of Strong Songs, Triple Click, and the Kotaku review of Destiny 2 fame. (No, really, it's one of my all time favorite reviews. Go read it!)
Over on Strong Songs, Kirk recently dove headfirst into Nicholas Britell's excellent Andor score. Today, he's joining us to talk through music's place in the show and in Star Wars in general. Join us as we unpack the differences between Britell, John Williams, and the other musicians who've worked in the franchise. And don't worry, we sneak in one more theory about Cass' sister for good measure!
"Casablanca is a propaganda film," says Noah Isenberg, author of We'll Always Have Casablanca. "It's a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting."
The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: "I'm not fighting for anything anymore, except myself. I'm the only cause I'm interested in."
But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick's aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.
Later in the famous scene of the singing of La Marseillaise, Rick gives permission for the band to play the song of the resistance...
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