we finally see the match we’ve all been waiting for

Why do we fight? It is a question that often comes up in Chapter 6 of the Andor Bible, why do we have to face enemies who have all the resources to win? It is a question that is Cassian formulates himself as he is about to deal a fatal blow to the Empire’s bureaucratic machine. The same question is asked by the very leaders of the totalitarian regime that rules a galaxy far, far away: what makes humble, displaced people of all latitudes feel the need to fight?

There is no obvious answer. In any case, they all seem equally valid in the weight of the urgency of facing a monster of control with a hundred different heads. Discovered in the previous chapter as a man paid by Luthen Rael, Cassian has no choice but to hope that the attack on the Empire’s machines is effective. It’s that or nothing! shouted the enraged character. But in the end, in the silence of a deserted field, trusting someone else is essential. Especially when what awaits you in a seemingly clumsy maneuver could be deadly.

The festival of Dhanis, the famous eye, is about to take place. Of the 15,000 participants from previous years, only a few hundred are present, which is more than enough for the scheme. Control, explains one of the managers with satisfaction. In the end, if you need labor, you will have it, he adds, turning the inhabitants into elements of a mechanism that dehumanizes them and exploits them violently.

But on the whole, the Empire knows that even a celestial event of special significance helps maintain the precarious peace in the region. They therefore prepare with thirty Alkenzi sentinels to guard against what is to come. Everything must go perfectly, the senior guard still insists. This is the only way to guarantee that everything remains unchanged.

At the center of the danger, an idealist and a mercenary collide.

Andor devotes much of his sixth chapter to speculation about how the Empire maintains its unity and control. The galaxy is divided and shattered by violence. So much so that every step is essential to preserve the precarious order established by force.

Thus, the Dhanis festival, despite its semi-religious nature, is a means of conveying the implication of total dominance. Pilgrims are monitored, they are allowed to cross the lands that once belonged to him. They are viewed with suspicion.

One of Andor’s strengths in plot quality has always been its use of contrasts in tone and pace in its argument. This time the device is even more efficient. As pilgrims make their way to the famous Heavenly Eye and its ancient light, officials are ready.

They try to blend in, but with the arrogance of the enforced observer, without much connection beyond policing and violent discipline. But even there, Tony Gilroy’s series struggles to analyze its characters. A family in the middle of a garrison, a seemingly unimportant private conversation.

Andor insists on playing with the little ones to support something more complicated and harder to relate to. In the end, the empire is supported by the confrontation between equals, men and women separated by the division of support or not for the horrors of totalitarianism.

The imminent is about to happen on Andor

Good use of tension balances the sense that the series is analyzing its plot with an uncharacteristic calm. The most mature and sober of the Star Wars series is inspired by the vision of a military structure supported by anonymous faces. Soldiers, unimportant, nameless, teams of guards. So much so that Cassian and his men could be mistaken for each other.
Andor, Cassian Andor

Gradually, the plot builds tension in seemingly simple events. For Empire members, it’s just another day. For men waiting to attack, this is a decisive moment. Contrast is again the means that the production uses to create an increasingly dense atmosphere. He succeeds in getting it to understand that whether Vel’s men succeed in imposing the military apparatus or not, it will be an important step. One that will open the doors of rebellion to something more comprehensive and harder to understand.

This group of opponents of a vast and ruthless military machine has everything to lose. Hence the interest in an attack under the worst conditions, in the most improvised way and with chances of success. Even Well, until then a leader aware of his responsibility, falters. Give the order, insists Varada Sethu at his side. Finally, the apparent leader of the sabotage group accepts the inevitable. Go on, he whispers.

An attack at night and in the midst of fear

Finally, the attack begins, the kidnapping of high-ranking officers and their families is carried out effectively, at best quickly. But it quickly becomes clear that it won’t be easy, and that what started out as stealing a payslip turns into something more. Gradually, the rebels manage to take over Aldhani’s base in what seems like a sweeping sweep. However, it is clear that this will not be the case. They won’t be able to get out of here, you don’t understand that, insists Jayhold, whose family is hostage to the attack. If they don’t do it, nobody will manage it, threatens Vel.

However, the plan has its flaws. They are too numerous, too obvious, too dependent on chance. Step by step, the series thickens the sense of urgency, of evidence that a single mistake can lead to disaster. But the attack continues. The rebellion takes control of the central base and now moves with the commander to more complex levels of strategy.

Humanizing his characters was something that Andor carefully used to create the idea that every face in the series carries a story. A detail that becomes more apparent in its sixth episode. As Aldhani’s shoot progresses, the camera follows soldiers at play, the relaxed atmosphere of safes and places of everyday life. Men indistinguishable from those who attack, this time, by ideal. Why does the resistance fight against power? Andor asks the question again, in its polished thriller quality, with a powerful moment of drama.

At the end of Andor, the pain, the force of will, the notion of the inevitable

But despite all their efforts, the mistake happens. A mistakenly overheard communication alerts the Empire to what is happening. At Alkenzi Air Base, the response is immediate. As the phenomenon of the Eye, a display of beauty celebrated for generations, the counterattack begins.

With unexpected help and strategic betrayal, the rebellion achieves a partial triumph. There are injuries, deaths, but also the first glimpse of what an organized group can do against power. Andor Chapter Six is ​​perhaps the most thoughtful, well-written and best-executed Star Wars production, a carefully crafted piece of storytelling. Even with creatures and references to fantasy and Space Opera in its purest form, Andor is a celebration of a deeper language.

In the end, Cassian is a man who survives. An honorable man, upright in his darkness. Just as the series tells its story, a mystery is about to be revealed. Perhaps the strongest side of a series based on the power of ideals. Why do we fight? Gilroy’s argument asks again. Perhaps there is no answer to this question. But one thing is clear, the rebellion knows that even if the reasons are not entirely clear yet, they have a long journey ahead of them to a greater ideal.

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