Latest / Most Things Kenobi - A Star Wars Podcast / S2 E16: IT'S HERE! "Andor" Season 2, Episodes 1-3 Recap (MAJOR spoilers)

Transcript

S2 E16: IT'S HERE! "Andor" Season 2, Episodes 1-3 Recap (MAJOR spoilers) · Most Things Kenobi - A Star Wars Podcast

• 0:00
  Oh my, it's Most Things Kenobi where we always have the high
• 0:05
  ground. Hi everyone, welcome to another
• 0:20
  episode of Most Things Kenobi, a podcast about Obi Wan Kenobi and
• 0:24
  all things Star Wars. I'm your host, Leanne.
• 0:27
  And I'm your host, Lauren. OK, before we get into it,
• 0:30
  before we just go crazy with and or stuff, we have a few
• 0:36
  housekeeping notes. The 1st is we've decided to kind
• 0:42
  of let our listeners know our current patrons and any
• 0:45
  potential future patrons that we are doing some heavy lifting
• 0:51
  when it comes to revamping our Patreon and with new offerings.
• 0:55
  Same, same tiers. We have the three tiers, but
• 1:00
  we're going to offer different things, more things and we have,
• 1:04
  we have a lot of fun things coming up, right.
• 1:07
  Yeah, it's really exciting. I'm, I'm still working through
• 1:10
  some of our, our media that I'm building our templates that I'm
• 1:14
  building. But once it's done, we can fully
• 1:17
  launch it. And I honestly, I don't want to
• 1:19
  watch launch it around May the fourth cause it's just, it's a
• 1:23
  lot drowned out. Yeah.
• 1:25
  So I'm guessing we'll probably do it a little bit after that.
• 1:29
  And it's, it's fun already. This stuff we've worked on has
• 1:34
  already been really fun, and it's gonna be some of the same
• 1:40
  stuff, like the best parts of what we do already and then lots
• 1:44
  more for everybody. I think so.
• 1:46
  And. You'll get to see us like we'll
• 1:48
  be on camera cause we've, yes, we're gonna be doing recordings
• 1:52
  of us watching, you know, pieces of Clone Wars or pieces of Star
• 1:56
  War. The, the trick is trying to find
• 1:58
  a media source that'll let us play it and record it at the
• 2:01
  same time. But we'll figure out, we'll,
• 2:03
  we've done it already and we'll continue to figure that out.
• 2:06
  And we also have, like most things, Kenobi bingo.
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  There's a, there's a, there's a little example, a little preview
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  for you. Yeah, yeah, some games, some
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  videos, some more community building stuff, each for
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  different tiers. Not every tier is gonna have
• 2:23
  this, but we want to give back more to our Jedi Masters in
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  particular 'cause that's, you know, that's very generous.
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  That's the high tier and we appreciate every single one of
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  our patrons all the way up, including the Jedi Masters,
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  'cause it's was it Padawan, Jedi Knight, Jedi Master, of course.
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  And, and honestly, we appreciate your support just listening to
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  us. But if you do feel compelled or
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  want to support the Patreon, support the podcast through the
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  means of a Patreon. It is available, obviously, just
• 3:01
  you guys listening to us and laughing along with us is the
• 3:06
  joy yes, but you know that we we want to offer more and so that's
• 3:12
  our way to do it and we're excited about this.
• 3:14
  We've really, I mean, Lauren is kind of the brains of a lot of
• 3:18
  this because she's got that, she's got that mind for
• 3:23
  entertainment. It's my job, it's my day job,
• 3:27
  so. She's just really good at
• 3:28
  creating graphics and videos and things, and I'm just over here
• 3:32
  trying to come up with some funny, goofy stuff for us to
• 3:34
  enjoy. Would I get to take my my day
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  job skills and apply it to Star Wars?
• 3:42
  Who could ask for more That's. Amazing.
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  Well, if anyone is wondering, I know that we've had a few people
• 3:48
  reach out recently saying they didn't even know we had a
• 3:50
  Patreon. If you ever need a link to it,
• 3:53
  it's in the show notes. Always.
• 3:54
  Every episode there's a link to the Patreon.
• 3:57
  And like Leanne said, if you feel compelled, we would deeply
• 4:02
  appreciate it. But of course it's not.
• 4:05
  We're going to keep doing this. Yeah.
• 4:07
  Wait one way or the other. We're here regardless and we, we
• 4:09
  just have, we're trying to have fun like no matter what we do
• 4:12
  because man, do we need fun these days, right?
• 4:16
  Oh my God, yes. And it's fun for us to produce.
• 4:20
  So it it's got, if it's fun for us to produce, it's got to be
• 4:23
  fun for you guys to digest. Yeah, and it's more excuse for
• 4:27
  you and me to hang out and do. Stuff 100 percent, 100%.
• 4:33
  Also, one other thing that we should very loudly specify
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  before we get into this is this episode is full of spoilers.
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  Do not proceed beyond this point if you have not watched the
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  Majestic episodes one through 3 for and or season 2 that just
• 4:55
  dropped because. Yes, because dear God.
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  Oh my God. It's just as good as we thought.
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  I have. I have 0 complaints usually I
• 5:12
  get on here and I'm like I don't know if I like this.
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  I like this a lot. So even with Andrew season 1,
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  remember you were like, I'm not sure that's.
• 5:21
  Because I couldn't remember. I couldn't hear a single fucking
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  word that they were saying. No, I had earbuds in.
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  This time I said I'm not missing a word or a mumble.
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  I took Kevin's advice this time and rewatched it with subtitles.
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  Yes, subtitles necessary. Oh my God.
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  OK, so with all that being said, if you haven't, if you haven't
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  seen the episode, stop now because this is your last
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  chance. We're we're doing this, so let's
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  fucking go. I'm so excited.
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  I can't take it. I've been dying to talk about
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  this with you. Oh my God.
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  Let's go. Let's go.
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  Holy shit from the fucking. OK, so I guess we should say
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  we're going to go through this episode 1, episode 2, episode 3,
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  and we'll be back here next week doing the same thing for the
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  next set. So instead of bi weekly, we'll
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  be weekly. But this week we are discussing
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  episodes 1-2 and three, so we'll go in order.
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  Let's start with Episode 1. I know we always jump around a
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  lot, but I think you and I are like.
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  Structured. We literally both came with
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  pages of notes. Yeah, I think in all truth, we
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  did kind of mention before we started recording, we might need
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  to come back later and go episode by episode and we would
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  maybe not 'cause we're doing this every other week.
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  So that would be what, 24 weeks of waiting?
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  We won't do it all at once, but I think we will deep dive
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  because this show is just fucking mind blowing and I just
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  can't believe the amount of notes that I'm able to put
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  together and it's not even comprehensive like there's.
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  More Yeah, it's we. I'm.
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  I was overwhelmed, happily overwhelmed from the jump.
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  Like the opening dialogue scenes between Cassian and the the
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  newly recruited rebel girl that was nervous and like, opened up
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  to him about how far that shit hit me on a personal level.
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  What he said to her so good. Oh my God.
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  I know the dialogue right from the jump.
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  Fucking beautiful. And it reminded me what good
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  writing can really do for, Oh my God, a character, a television
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  show for a space, you know, a fake world with fake shit.
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  If you have good human writing, Oh my God, it's irreplaceable.
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  Tony Gilroy's writing is just so special.
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  It it's so deep and layered, but beautiful and nuanced and also
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  tailored to the character. Like I could like if I was
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  reading this on a page, I could hear it in the character's
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  voices. And finally, Cassian gets to
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  talk. And talk he does.
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  I'm telling you that shit gave me chills when he told her that
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  the Empire cannot win as long as we remain, as long as we keep
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  doing what we do. And man, did that hit me on a
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  personal level. Yeah, when he said you're coming
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  home to yourself, you've become more than your fear.
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  Let that protect you. I was just like, this is like a
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  prayer, a mantra, like we all needed to hear this.
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  Right from the fucking jump. Did you notice?
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  Doesn't he say to Jin? Welcome home.
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  Yes. And I was like, already they're
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  starting with this shit. It's so good.
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  Oh, I have chills talking about it, but my legs are full of this
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  stuff so it's so good. Oh my God, it's so particular.
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  It's so on purpose, but effortless at the same time.
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  You know he's doing everything like Tony Gilroy is writing this
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  on purpose. Everything has a purpose, right
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  down to the last little button, or lack thereof, on a person's
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  jacket. But it never feels heavy-handed.
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  It feels so effortless and so appropriate for each character
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  and each arc that we've seen. I just could cry.
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  There's some good stuff like this in the world.
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  Just not even Star Wars, just in general.
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  People nowadays, I feel like with AI, we're kind of just
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  accepting a little less for ourselves because it's easier to
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  let something else do the work for us.
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  This is like, this is a work of art and it's such a gift to have
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  in this day and age for so many reasons.
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  Oh. My God, I felt the fear of that
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  girl. But that's that's so you know
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  what I saw through all of these episodes, every single one was
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  the emotion was appropriate for the scene and for what was
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  trying to be conveyed. And kudos to all the actors and
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  actresses because it was so realistic.
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  It wasn't overacted, it wasn't under acted, it wasn't cheesy.
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  It was appropriate and well done to the point where I believed
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  you have to make me believe. And I felt that girl's
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  nervousness, you know, and I don't know who she is.
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  We may never see her again. But like, she left a mark
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  because this is what the the rebellion is at.
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  This is the point that it's at. Yeah.
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  They're death and afraid of what will happen if they go against
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  the grain. It's I.
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  It's. There's also something
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  interesting in in the interaction she had with the
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  other woman who works there. Oh.
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  Right, I know and. She says that like I've enjoyed
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  my time here. There's this stark contrast that
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  you don't get right away. You see it later down the line
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  where the empirical, the scenes are kind of calm.
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  And quiet. And peaceful.
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  And there's weird camaraderie. I'm not saying all of it, but
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  often in the first 3 episodes, this is what you've seen.
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  The rebels have infighting. They're a fucking mess.
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  They don't know who's in charge. It's so starkly different, and
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  it's weird to feel in that moment.
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  They're sitting in this, I don't know if it was a mess hall or
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  what, but it's quiet and it's kind of calm.
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  And they can just have this whispered conversation and
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  there's, I mean, they're full of, Gee, it's full of fear, but
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  it's still this very intimate moment in this really dark place
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  that's a research facility that's probably intended to kill
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  more people. What a weird but interesting
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  contrast I thought. That's a really good
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  observation. I also really enjoyed that there
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  was a lot of humor. Oh, oh, it and it wasn't, it
• 12:08
  wasn't, it wasn't forced. I, I didn't feel like it was
• 12:14
  forced. It wasn't.
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  No. Like Last Jedi humor, which felt
• 12:19
  like it was, you know, a slap in the face.
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  Yeah, and sometimes gross. Yeah, and so I agree.
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  I agree. When there's little touches here
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  and there, 'cause you can't, you can't have a completely down
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  serious, you know, it exhausts the, the, the person watching.
• 12:37
  Yeah. So it was like a little sprinkle
• 12:40
  here and there. But the fact that he couldn't
• 12:42
  fly the ship in Star Wars, that's the whole everybody's
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  like I can fly anything in Star Wars and he like immediately is
• 12:51
  like and also screams the word shit.
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  I was just like I love this and or has brought real swears to *.
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  Wars. Thank you.
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  Diego Lunas acting in that ship made me believe he was actually
• 13:03
  in a ship and was fucking it up. And anyone who's played any kind
• 13:08
  of Star Wars game that involves ships, you know, you have flown
• 13:12
  just like Cassie and trying to get a ship off the guard.
• 13:14
  You know, you've taken your PlayStation or your Xbox
• 13:18
  controller and done the same shit.
• 13:19
  Don't try and hide from me. That is real shit.
• 13:23
  Not everyone is Poe Dameron who can get in a sip and say, I know
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  exactly how to do this. Boop, boop, boop, boop boop.
• 13:29
  We got real people trying to fly ships that no one's it's a it's
• 13:32
  a test bed. It was a prototype.
• 13:35
  Yeah. No one's going to know how to
• 13:37
  fly that shit with all the fancy.
• 13:38
  He's like, where's the seat? He's like, where the fuck is
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  the? And then it pulled it up.
• 13:43
  And then it just got worse and worse.
• 13:45
  Like not only did he crash backward, but he's hitting the
• 13:47
  walls of the ceiling and blowing up shit.
• 13:49
  It's just like, oh, this is getting out of control.
• 13:52
  He was so like determined, and then he pushed forward and it
• 13:55
  was the back and it's like, that's so fucking realistic.
• 14:00
  It's so real. But those scenes were cool.
• 14:03
  I thought those scenes, it was fantastic.
• 14:05
  Oh my God, the the editing timing, like the beats were so
• 14:09
  good. And, and it felt what I, what
• 14:13
  I'm really feeling a lot from this whole show, especially
• 14:16
  though in this opening sequence, is it is now going to feel like
• 14:20
  it's very seamlessly going to tie into Rogue One.
• 14:22
  Oh yeah, totally. Totally.
• 14:24
  We had more and it's it's like a the music is actually a
• 14:27
  different composer, which really broke my heart because I love
• 14:29
  Nicholas Patel, but he had like a family tragedy and because of
• 14:33
  the strike, they weren't able to use him this time.
• 14:36
  So it was someone named Brandon Roberts, I think, but his music
• 14:41
  sounds more like the Rogue One music and the editing of the the
• 14:45
  action felt a little more Rogue One.
• 14:47
  So I feel like by the end it's going to just flow and you're
• 14:50
  not even going to notice. Because they said they wanted to
• 14:52
  start Andor as far away from Rogue One as they could and then
• 14:57
  connect it. And already it's just, it's
• 15:01
  looking so beautiful and seamless the way they're going
• 15:04
  to do it. I'm, I'm, I have total faith
• 15:07
  they're going to stick the landing because.
• 15:08
  Oh yeah, it's. It's so good.
• 15:11
  It's just God damn. Well, what's funny is is I've
• 15:14
  read some things, you know, after the fact, not prior to,
• 15:17
  but after the fact. And people who have seen all of
• 15:20
  the episodes said these three are the quote slowest of the
• 15:24
  bunch. And I'm like, damn, Oh my God,
• 15:26
  if this is the litmus test, holy shit.
• 15:29
  What do we have waiting? I I know what we have awaiting
• 15:32
  us. Greatness.
• 15:34
  Greatness and tears. Lots of tears.
• 15:38
  And casting Andor looks great in red.
• 15:41
  Same as motherfucking Obi Wan Kenobi in Mandalorian red.
• 15:44
  I don't give a fuck, it's in my nose.
• 15:48
  He would look good in anything. They both would look good in
• 15:51
  anything or nothing. I'd be fine with either.
• 15:53
  I just thought it was kind of funny that red seems to be these
• 15:56
  boys color. Like we got to see what
• 16:02
  Chandrilla looks like. Oh.
• 16:05
  My God. And is it amazing?
• 16:07
  It's fucking amazing. It looks like the Italian
• 16:09
  Dolomites which. I think it's it's actually based
• 16:13
  on Catalonia, I believe the Montserrat Mountains in
• 16:16
  Catalonia. That's what I've read.
• 16:18
  OK, but I think the Dolomites look fairly similar.
• 16:22
  Well, I looked it, I looked it up to make sure I wasn't lying
• 16:24
  to myself. And I'm like, Nope, I that's,
• 16:26
  that's what they look like. But I mean, obviously it's a
• 16:29
  fake world, right? Inspiration from whatever, but I
• 16:33
  would fucking live there. I would live.
• 16:35
  There and it could come from multiple locations.
• 16:37
  I'm sure they're not inspired just by one place, but it was.
• 16:41
  But it looks cool. Amazing.
• 16:42
  Another like runner up to Alderaan for me.
• 16:46
  I just want to say, and it was confirmed when I, when I did the
• 16:51
  research after the episodes to see like did I see something or
• 16:55
  did I make that up in my brain? No, it was confirmed and I, I
• 16:59
  have a theory, but in these three episodes, as more and more
• 17:03
  of Chandrilla and the wedding scenes and the like, the lore
• 17:08
  behind the Chandrilla history that comes out with this wedding
• 17:11
  and all this stuff, loved that stuff.
• 17:13
  Great elements. It all very, very much looked
• 17:18
  exactly like the Star Cruiser Hotel that we stayed at in
• 17:22
  Disney. Really.
• 17:24
  To the point that the glasses that they were drinking from,
• 17:28
  I'm like, I know I had a fucking cocktail on that star cruiser in
• 17:33
  that glass. And I wonder, did they take the
• 17:39
  shit from the left the left the leftover set pieces?
• 17:42
  Probably. Did from the hotel to use it in
• 17:46
  this? In this I mean.
• 17:49
  It's got to get you somehow since the hotel went out of
• 17:51
  business. But I did, I did.
• 17:54
  There are specific things that were picked out that were either
• 17:59
  on the Star Cruiser or a direct translation from it.
• 18:01
  Because for those who don't know, the Star Cruiser is a
• 18:05
  Chandrillin ship and it starts you leave port out of Chandrilla
• 18:10
  so. Oh my God, how fucking cool is
• 18:13
  that this? See, these are the details about
• 18:15
  Star Wars that I love. I don't know that anyone else
• 18:18
  would have picked that up. I'm dying to know what my
• 18:21
  friends who stayed in the Star Cruiser thought, but they're
• 18:24
  currently on a Disney cruise, so they can't comment yet.
• 18:27
  I don't even know if they've seen it, but I know they're
• 18:29
  going to listen to this episode. But I and they also like the
• 18:33
  when Perrin does his toast. This is in.
• 18:37
  I think it's in. Is that in episode 2?
• 18:40
  It's. Two or two or three, I can't
• 18:42
  remember right. We'll talk about that.
• 18:44
  But when he does the toast, the part of the toast is something
• 18:47
  that they taught us is a saying or a portion of a saying that
• 18:51
  they taught us on the Star Cruiser.
• 18:54
  So I was like getting flashbacks everywhere.
• 18:56
  It was very cool. Oh my gosh, how cool it was
• 19:01
  right from the beginning of that sequence.
• 19:03
  Also that I was watching it with my boyfriend and he's a film
• 19:07
  maker and he was saying, are you noticing the focus pulling?
• 19:12
  I was like, of course not. I'm like, I'm watching, man.
• 19:15
  Mothma being fucking amazing. So I went back.
• 19:18
  It's 2 1/2 minutes uncut. Oh my God.
• 19:21
  Through the entire set. They start with her greeting
• 19:24
  family members that she speaks to, an aide, walks all the way
• 19:28
  down, speaks to multiple people and turns and finds Lutheran at
• 19:31
  the docking Bay. It's 2 1/2 minutes uncut with
• 19:34
  non-stop focus pulling and it's precision.
• 19:38
  It is some of the best filmmaking I've seen in a long
• 19:40
  time. Not just for TV, but like the
• 19:44
  technical skill required from everyone to make that whole
• 19:47
  sequence work is top level unbelievable.
• 19:50
  Do you think they had a runway that like the like the the
• 19:54
  runner where they move the camera along or do you think it
• 19:57
  was held on a body stabilizer? I think it's a body stabilizer.
• 20:01
  Usually you have a person holding.
• 20:03
  Your back. And sometimes they hand the
• 20:05
  camera off depending on like, if there's any kind of obstacle
• 20:09
  that they have to get around, they'll like hand it to the next
• 20:11
  cameraman, but there's usually a person on the back stabilizing
• 20:14
  you. Yeah, I mean it.
• 20:16
  That kind of scene takes a lot of rehearsal, and everyone knows
• 20:21
  exactly where they be, where they're supposed to be on a
• 20:24
  beat. You can't miss it because people
• 20:26
  are moving in the background, in and out of the.
• 20:28
  Shots. That's true.
• 20:30
  The set is nuts dude. It's like how many layers?
• 20:33
  Tall I was trying to picture what was real, what was built
• 20:37
  what what was kind of spliced in the back, you know, because they
• 20:40
  they add effects to make depth and all this shit.
• 20:42
  But like, damn. But did you notice that it
• 20:46
  started in that scene, but it continued through the three
• 20:49
  episodes? The symbolism of a circle or a
• 20:52
  ring, like an inner circle. Mm hmm, just the symbol like the
• 20:59
  the architecture at her home were giant open circles.
• 21:05
  And then there's reference to keep close know who's in your
• 21:08
  inner circle. You know, there's all this quiet
• 21:11
  talk amongst the, the, the soon to be rebels, you know, in
• 21:15
  between all of these senators and, and politicians and high
• 21:19
  highbrow Coruscant, you know, but you, they're like talking
• 21:24
  amongst themselves and like know who you can trust, which comes
• 21:28
  to a head at the end and all this stuff.
• 21:30
  But like the the symbolism of a circle was very physically
• 21:34
  present as well. Yeah, yeah, Archways and circles
• 21:39
  on the floor. And yeah, it was.
• 21:43
  There is just so much effort and detail.
• 21:46
  My boyfriend's other question was do you know what the budget
• 21:49
  was for this because it's insane.
• 21:52
  It has to be the costumes. Alone.
• 21:56
  Yeah, I've heard Tony Gilroy talking about this sequence in
• 21:59
  particular because the costumer not only had to dress everyone
• 22:05
  in this sequence in couture, there was no like, everyone
• 22:08
  here. Here's like the pants for
• 22:10
  everybody. Here's the shirts.
• 22:11
  For like. Nothing like that.
• 22:13
  Every inch of their costume is couture and then the next day
• 22:16
  would have to come in and do the rebel sequence.
• 22:19
  So to have to switch, you know, back and forth from these very,
• 22:23
  very different levels of of detail.
• 22:27
  All of it's detailed, but like to have to switch your brain on
• 22:30
  and off to each one as he would do the sequences.
• 22:33
  Incredible. I mean, these people deserve
• 22:35
  every award possible because it's.
• 22:38
  I I really, really loved again through all the episodes
• 22:42
  introduced in episode 1, the theme within the Chandrillon
• 22:48
  portion of the show, the theme of tradition between the little
• 22:54
  ropey things that the women clip on their behind their ears or in
• 22:58
  their hair, the braid cutting, which was very similar to like
• 23:01
  Padawan braids, I thought. Yeah, yeah.
• 23:05
  Their speeches, there's that hike they went up to with the
• 23:08
  maiden and you know, and all this stuff.
• 23:09
  And I'm just like I none of this was necessary per SE, but it
• 23:16
  added so much more that made it so much more interesting to
• 23:19
  watch. I know, and I would love to pick
• 23:23
  Tony Gilroy's Brain I. Know.
• 23:25
  Like what inspires this like. Yes.
• 23:28
  Do you literally just pull it out of your own head or is it a
• 23:32
  very deliberate choice that you're making?
• 23:35
  I is it someone at Disney saying, here's our documentation
• 23:39
  that we have on Chandrilla. Please try and stay as close to
• 23:42
  it as possible, you know? Could be any combination of
• 23:44
  that, we don't know and I wish we could ask him.
• 23:47
  You know, am I God? If we could interview him, that
• 23:50
  would be a dream come true. So I just want to like learn his
• 23:53
  writing process and well, the creative.
• 23:56
  Genius behind it all. Please give us insight if you
• 23:59
  have. Yeah, Any little Nuggets you
• 24:01
  want to give because it's so fascinating to us, like.
• 24:07
  I know it's really, and I kept Googling like what what was, you
• 24:12
  know, the inspiration for this or that?
• 24:13
  And of course, there's no answers yet.
• 24:15
  No one's no one's asked him these questions yet.
• 24:19
  So hopefully we'll get more detail as more time goes by.
• 24:22
  But it was so fascinating and it just carries on into the scene
• 24:29
  with Chronic. I thought we'd never get to this
• 24:32
  point. So excited.
• 24:36
  Oh my God. He is so fucking irritable.
• 24:40
  His irritation and the way that Ben Mendelsohn acts this
• 24:47
  character out is fucking brilliant.
• 24:50
  The little hand gestures, the, the fucking tick in his voice.
• 24:55
  Like everything about this man is a fucking wreck.
• 25:00
  He's A and he just thinks so highly of himself, like I just
• 25:05
  fucking can't. And I loved those scenes.
• 25:09
  I loved it and it was fucking terrifying too.
• 25:12
  Yes, it was. It was like the ISB scenes from
• 25:15
  season 1. Yeah, but in a escalated level
• 25:20
  of intensity. It was like, you can't look
• 25:21
  away. It's so fascinating and
• 25:23
  horrific. Not only that, they're
• 25:25
  discussing the upcoming impending Gorman massacre, which
• 25:30
  which for people who may or may not know it was part of Legends,
• 25:34
  It was not in Canon, and now they're bringing it back and
• 25:38
  it'll be interesting to see how they handle the actual massacre
• 25:41
  itself, because it's obviously coming.
• 25:43
  I I I do love that Tony Gilroy is not shy at all about how this
• 25:47
  is based on Nazis. The intelligence agency?
• 25:52
  Isn't that a Nazi thing? It is, yes.
• 25:55
  Emotional. What was it called?
• 25:57
  It was the, the Ministry of Enlightenment and that is what
• 26:01
  Hitler's propaganda department was called.
• 26:03
  It was called, I have it written down here because I, I was so
• 26:06
  fascinated. I needed to go and like check
• 26:09
  it. Literally.
• 26:11
  Hitler's propaganda department was called the Ministry of
• 26:13
  Propaganda and Public Enlightenment.
• 26:15
  Sometimes it's reversed, sometimes it's called the
• 26:17
  Ministry of Enlightenment and Public Propaganda or something
• 26:20
  like that. But.
• 26:21
  That is scary shit. It is pulled right from from
• 26:24
  Hitler and then also the location that whole meeting is
• 26:29
  based on something called the Wanzi Conference, which happened
• 26:32
  in 1942. And it's where German high
• 26:36
  command and propaganda had a meeting to discuss how to
• 26:42
  exterminate the Jews. The what was it called?
• 26:44
  Like the final solution or something like that?
• 26:48
  Right, it's. Exactly what's happening in this
• 26:51
  and also it's not just isolated to World War 2.
• 26:56
  This kind of stuff has happened over and over like it happened
• 26:59
  with the the, it's called the Scramble for Africa.
• 27:03
  It happened there as well. Where a bunch of white.
• 27:06
  People. White men, let's be serious,
• 27:09
  like sitting in a conference room, determine what's going to
• 27:12
  happen to other countries and other groups of people and they
• 27:16
  have no say in it whatsoever. So it it's historically accurate
• 27:20
  and gross as fuck, but so brilliantly executed.
• 27:24
  Brilliantly executed with a table of desserts.
• 27:28
  Yes, that's what happened at the Nazi conference.
• 27:30
  They're very calmly laughing about this, chuckling over it,
• 27:36
  making fun. OK, I don't want anything to do
• 27:38
  with these Gorman spiders, OK? That whole, that whole shit.
• 27:43
  Me too. I was like, you're 40 million
• 27:45
  spiders, you can fuck right off. No, thank you.
• 27:49
  God bless those fucking spiders. They seem to have a harmonious
• 27:53
  symbiotic relationship with the the Fabric Company or the the
• 27:58
  weavers of of Gorm. This is fantastic stuff because
• 28:03
  it's always some kind of power hungry natural resource that
• 28:08
  they're going to exploit an entire inhabitant, some some
• 28:14
  world, some some community, yeah, of human beings and its
• 28:19
  species, that they're connected to the land and just wipe them
• 28:25
  out because, sorry, we need whatever you have so we can kill
• 28:28
  more people with it. Like it's fucking gross but I'm
• 28:31
  glad they show this shit because this is what happens.
• 28:36
  Yeah, me too. I'm so sorry for the spiders
• 28:40
  though. And the spiders.
• 28:42
  Here's the thing though, the spiders will find a way to come
• 28:46
  back. It's the humans that won't.
• 28:48
  Oh yeah, the people are are and like they made that lame comment
• 28:52
  of Oh yes, resituating them would be preferable, but we need
• 28:57
  to make a contingency plan for when it's not possible to move
• 29:00
  them off planet. It's like that's the plan.
• 29:02
  The whole plan is to just make sure everyone dies and can't
• 29:07
  confirm. Well, we saw what happened at
• 29:09
  Jeddah. It's no different than Jeddah,
• 29:11
  Jeddah. And Kanari, which, you know,
• 29:15
  Cassian's home planet with the mining accident that killed all
• 29:19
  the people of their quote, UN quote, quote, UN quote.
• 29:23
  I thought there was there was something particularly
• 29:26
  interesting too, at when Chronic is first speaking and he's
• 29:28
  saying, you know, only the people in this room know, like
• 29:32
  your bosses don't even know why you're here.
• 29:35
  What's going on? Well, at first that sounds like
• 29:38
  classified, you know, oh, you're working on a really classified
• 29:42
  thing that's very special. But what we've learned from
• 29:45
  Hitler is that what that does is give the bosses and the higher
• 29:49
  regime plausible deniability so that when the project is done
• 29:53
  and you've killed all these people, they can blame you, say
• 29:56
  you went rogue, kill you, and move on with what they were
• 30:00
  doing anyway. You are just as expendable as
• 30:03
  the people they're planning to get rid of.
• 30:05
  You're part of this plan, they don't care how make it happen,
• 30:10
  and then you're no longer their business anymore.
• 30:13
  Exactly the only person I mean. Even down to chronic, let's be
• 30:16
  fucking real, I mean. Yes, and it was as we saw Tarkin
• 30:21
  hated his fucking guts the minute he finished his project.
• 30:23
  Tarkin's like, I'll just take that.
• 30:25
  Thank you very much. I'm just here to tell you that
• 30:27
  his Cape was pressed, starched and ready for me and I
• 30:31
  appreciated every moment that he put into starching that that
• 30:35
  cake. I loved his scene with Deidre.
• 30:40
  He personally asked for Deidre. Deidre does.
• 30:42
  I find it interesting that Deidre doesn't want any part of
• 30:44
  it. She's so focused on access that
• 30:47
  she doesn't want, and maybe she knows that.
• 30:51
  It's like setting them up to to be Patsy.
• 30:54
  'S I think she does. I think she has enough foresight
• 30:57
  to know, like, I see where this is going to go.
• 31:01
  I don't want any part of it. Let me have my project and I'll
• 31:03
  keep going. Them together was so it was so
• 31:07
  excellent because she's such a fucking like hard ass and critic
• 31:12
  is like a perfect foil for that because he's the same.
• 31:16
  But he when you're on his team, he could really use you and for
• 31:20
  him to come up and say those the dialogue where he was like, you
• 31:24
  think you're hard to read. You need to get over that.
• 31:26
  I want your opinion. You've had you've formed an
• 31:29
  opinion before they finished talking.
• 31:31
  I asked you to be here because I want to know what you think.
• 31:34
  That's fucking awesome. It is just so fucking it is.
• 31:38
  I wouldn't tell him whatever he wanted at that point.
• 31:42
  And he was like delighting in it.
• 31:44
  He was so like, delighted. And when she finally gave it to
• 31:48
  him, he was like, I'm all right, OK, yeah, I see this girl.
• 31:54
  I just loved everything about those scenes because it's the.
• 31:57
  2. It's the smarmy shit I expect
• 32:01
  from a round table of inside Empire people doing what they're
• 32:06
  about to do I can't. You know what else was really
• 32:11
  interesting though, is when Party Gas was talking to, I
• 32:15
  guess the guy was military because Pardiguez is in white.
• 32:17
  He's an intelligence officer, I guess, right.
• 32:19
  That's how we delineate a bit. And the, the other guy was
• 32:23
  saying, Pardiguez said we don't have a presence in Gorman.
• 32:29
  Gorman Gorman. Is that the name of the planet?
• 32:31
  GHORMAN Yeah, I. Didn't know if the people were
• 32:35
  Gorman and the planet was Gorma. Gorman.
• 32:39
  Gorman, he was saying we don't have a presence there and the
• 32:45
  military guy was saying we are starting to build a base
• 32:48
  tomorrow. And part of guys was like,
• 32:50
  excuse me. So you could see the departments
• 32:53
  don't even know what they're each other are doing.
• 32:56
  They're keeping people. It's either purposeful where
• 32:59
  they're they're isolating their departments for plausible
• 33:02
  deniability, or 100. Percent think it is.
• 33:05
  It's a weakness in the empire where they are not cross
• 33:08
  communicating, which is also a possibility.
• 33:10
  Total possibility because their their arrogance is so big
• 33:14
  they're they're they're now ascending in the Galaxy OK
• 33:17
  they're starting to get a taste of what Palpatine probably
• 33:20
  promised all of these assholes and now they think they're
• 33:24
  untouchable. So now they're going to start to
• 33:26
  crabs in a bucket see who can get on top of each other to get
• 33:30
  to the top. You know, yes.
• 33:32
  So I think it, I, I think it's, I think it's one of those things
• 33:36
  where all you have to do is let them loose and then they'll
• 33:39
  finish the job for them by tearing each other down, no
• 33:43
  matter what department it is. I can't stand people who do
• 33:46
  that. Sorry.
• 33:49
  I love the the crabs in a bucket.
• 33:51
  I think you've described them that way before the past that I
• 33:53
  really love that expression for this.
• 33:56
  I I hate to do that to a crab, but if you picture them in a
• 33:59
  bucket it's literally the Empire.
• 34:02
  No, it's true. And that includes Vader trying
• 34:07
  to get on top of Luke to try to get up there and, yeah, do away
• 34:12
  with everything. Everybody.
• 34:14
  We're not there yet. We are 37 minutes in and we
• 34:18
  haven't even started episode 2. So, folks, strap in.
• 34:23
  Before we move on to can we please talk about the scenes
• 34:27
  with Cassian? Because.
• 34:28
  Which ones? All of.
• 34:30
  Them where he lands on the the planet, you know that that they
• 34:33
  reveal the what it is at the end of episode 2.
• 34:36
  I slapped my leg and said what they were.
• 34:40
  They were unfucking Gavin the whole time.
• 34:44
  Are you fucking serious? I screamed.
• 34:49
  Yeah, I would. Have but my boyfriend.
• 34:52
  I was sitting next to me and I was like, I was just like.
• 34:55
  Oh. That's that's the place where
• 34:58
  Princess Leia is, Yes, but as soon.
• 35:02
  As it was revealed I understood the point of all of it.
• 35:05
  I got the point. At this point in my notes, I say
• 35:08
  I do not understand the scenes or purpose of this stranded
• 35:11
  group, nor do I care for them. That was at the end of episode
• 35:14
  1. Yeah, I think it was funny.
• 35:18
  It was, again, an opportunity for more humor to show.
• 35:20
  They mentioned Maya Pei, so we know that Sau Guerrera has
• 35:24
  mentioned her, and I think she's mentioned in Rebel Rising, I
• 35:27
  believe. So it's to show that these
• 35:30
  rebels are not even organized. And when Cassian says it's for
• 35:34
  the rebellion and they're like what?
• 35:35
  Like who's rebellion? What rebellion?
• 35:37
  Like who are you with? What are you talking about?
• 35:39
  Because there's no organized rebellion.
• 35:42
  And I'm sorry, I just love that he's always the smartest one in
• 35:45
  the room. Well.
• 35:45
  He's been through this. Think about it.
• 35:47
  When they went to Aldani, it was it Aldani?
• 35:50
  Yes. And he was the only organized
• 35:53
  one amongst that group. And so I kind of enjoyed his
• 35:56
  growth in the way that he kind of sat back and was already
• 35:59
  looking for stuff that they weren't they didn't have a
• 36:01
  perimeter. Do we have water?
• 36:03
  It's not going to rain forever. You better get a tarp up.
• 36:06
  We need, we need water and food. What are we doing about?
• 36:08
  Who are these people? Like who's in charge here?
• 36:12
  Nobody, because they're bickering over whose brother and
• 36:14
  who and so and so and and like. It was complete dysfunction.
• 36:18
  But he he is like staying sharp and not getting emotional.
• 36:22
  He gets upset later like after the fact, but during the whole
• 36:26
  process he keeps his head on straight.
• 36:28
  He's. Trying to drink water while
• 36:30
  these fuckers are over here talking about moldy breakfast
• 36:34
  bars so I know he's the only smart one.
• 36:38
  I fucking love Cassian. And I do too.
• 36:40
  I love that they, they show that off too.
• 36:43
  You know, it's, it's really rewarding for a person who's
• 36:47
  like a fan of the character to see the character get to be the
• 36:50
  best version of themselves. It's really nice, especially
• 36:53
  after seeing the horrific shit that he went through in season
• 36:56
  1. It's nice to see him, you know,
• 36:58
  being strong. But I really the line where he
• 37:02
  says to the guy who's watching him, do they really trust you or
• 37:06
  do they just think you're stupid?
• 37:07
  Yeah. It's like he delivered it so
• 37:11
  well. I laughed every time I watched
• 37:12
  it because I rewatched the show a couple times just to get my
• 37:15
  notes. But also, he's again, so
• 37:20
  observant and of people's dynamics.
• 37:22
  It's not even just like, oh, they're fighting.
• 37:24
  It's like he can start to see the the fractions within how you
• 37:28
  can manipulate certain characters, which ones are going
• 37:30
  to be the weak ones that he can call out from the herd.
• 37:34
  It's so fascinating to watch. And that's why he's such a good
• 37:39
  spy and such a good character. And just I love, I love Diego
• 37:43
  Luna's performance and it is so good.
• 37:45
  If I had one complaint about these episodes is that I wish
• 37:50
  that Cassian had more time on screen as opposed to being in
• 37:53
  the background of what those characters were trying to do.
• 37:56
  Totally. Just because it's a in my
• 37:59
  opinion, it's a waste of Diego Luna's talent, but he was a
• 38:04
  talent on screen for what he was there to do.
• 38:08
  I completely agree with you. I after watching the a couple
• 38:12
  times I was, I loved it and I really enjoyed everything.
• 38:16
  And then I came away thinking like Cassian's barely in it,
• 38:19
  right, right. And I did feel well watching it
• 38:23
  that that sequence on Yavin took way too long.
• 38:26
  Like I really wish they could have cut it down.
• 38:30
  I'm hoping that it's important. Obviously it's Yavin.
• 38:33
  So I'm, I'm guessing they're going to come back around to it
• 38:36
  like either they're going to work with the Maya pay rebels or
• 38:40
  they're going to go obviously back to Yavin at some point.
• 38:43
  But right now I'm feeling like that was a little too long.
• 38:46
  And I would have liked Cassian to do more and say more.
• 38:50
  I mean the show is fucking about and OR but it seems to be more
• 38:53
  about everyone else around him. Don't forget his absence on the
• 38:57
  comms during the whole wedding. Shit made a tense a level of of
• 39:02
  tension that only added to the bullshit going on at the
• 39:06
  wedding. Stuff you know everyone's
• 39:08
  waiting to hear from Cassian. Did the ship land?
• 39:10
  Where's the, where's the, you know, all this stuff to the
• 39:13
  point where what's her name left to, to go back to the, to the
• 39:16
  museum or whatever it was? Yeah, you know.
• 39:19
  I saw, I saw someone sent me a, a post that said and or is
• 39:25
  basically everybody saying where's Cassian and Cassian
• 39:28
  getting like into a bunch of bullshit, not being able to get
• 39:31
  back to where he's trying to go. Everyone always asks where's
• 39:34
  Cassian, but nobody ever asks how's Cassian?
• 39:39
  How is Cassian? He's trying to keep a sense of
• 39:43
  humor about all the Anthony lives through.
• 39:47
  OK. Should we move on to Episode 2?
• 39:49
  I think we should after 45 minutes.
• 39:55
  Oh man. Well, Cyril's back, and he's dry
• 39:59
  as ever. Oh my God, was it entertaining
• 40:03
  though. He's such a piece of shit who is
• 40:06
  so self important piece of shit. I even had to say that out loud
• 40:09
  when I'm watching it because it's like you're doing nothing
• 40:12
  and I love it. He's like, what was the line?
• 40:14
  It was like there's a place for people who dare at this stupid.
• 40:19
  Yes, desk job. Yes, I was once here Yeah.
• 40:25
  Do you know what I did? I found this unrelated hint of
• 40:29
  something that made get out of. They called it an underground
• 40:33
  cabal. Yeah, fuck you.
• 40:35
  Get out of here, Cyril. And then you went home to mommy
• 40:38
  because you can't afford a home on your own.
• 40:40
  Get the fuck out. Well, mommy is.
• 40:44
  Mom, those scenes. Oh my God, mommy is Dedra Dedra
• 40:49
  now instead of his mom. Oh my God, they're they are so
• 40:52
  weird together. It's so weird.
• 40:55
  That we're not there yet. We're not there yet.
• 40:57
  We're not there. Got to go to order here.
• 40:59
  What did you feel about the Mina Rao?
• 41:04
  Everything going on there I have felt very uncomfortable and I'm
• 41:08
  glad I felt uncomfortable with the creepy silo dude hitting on
• 41:11
  Bix. Yeah, saw that coming a mile
• 41:15
  away. We'll get to that as well.
• 41:16
  We'll get to that, but I was happy to see that they're all
• 41:20
  there, they're all well, B2 emos there.
• 41:23
  I know. And he's.
• 41:26
  Playing with kids. I guess that's in episode 3, but
• 41:29
  yeah, I. Think like the family's there
• 41:31
  and there was a picture of Marva.
• 41:35
  Yes, did. You see that the picture I.
• 41:37
  Did see that she broke? My heart.
• 41:41
  And did you see or hear when this is jumping ahead a little
• 41:45
  bit when when Bix is trying to get Cassie in on the radio and
• 41:48
  they can kind of hear each other?
• 41:49
  He says this is the code word or whatever is sky and stone or
• 41:56
  stone and sky, whatever. I just love the little
• 41:58
  references to Marva that they made.
• 42:00
  I I hope there are more because I I loved Marva so much.
• 42:04
  I I'm glad they had her still in the show in some capacity, even
• 42:10
  though it was just slight. You know, her memory is there.
• 42:13
  She carries, they carry her with them.
• 42:16
  She's the spirit of that group, you know, and, and I just want
• 42:20
  to hit on this. The silo stuff is it's
• 42:26
  literally, this is where the empire does its damage.
• 42:31
  And it's often overlooked because we talk about the big
• 42:34
  communities like Gorman, We talk about all of Jetta, we talk
• 42:37
  about Alderaan. But it's the communities of
• 42:41
  innocent people who are just trying to work, make a living,
• 42:46
  go on with their life, keep their head down, do what they're
• 42:49
  supposed to do, and here they come.
• 42:51
  You know what I mean? Causing unrest, making trouble,
• 42:56
  having, you know, whether they're quote, illegal or not,
• 43:00
  These are people that are just trying to make a life for
• 43:03
  themselves from whatever their past is, OK?
• 43:06
  And trying to do it honestly without these fuckers coming in
• 43:10
  and disrupting everything. And I feel this on a very deep
• 43:14
  and personal level for what's going on in my own life and my
• 43:18
  own organization. I see myself and the people I
• 43:22
  work with in these scenes and I can't help but get very, very
• 43:26
  emotional over it. Yeah.
• 43:28
  I feel it very deeply and I'm trying not to personalize it,
• 43:31
  but I see the symbolism in it and I can't help but connect to
• 43:34
  it. Well, and the thing about what
• 43:37
  you're experiencing and what you know, this is very obviously a
• 43:41
  direct comment on immigrant workers and how they are like a
• 43:44
  marginalized group and they don't have legal representation
• 43:48
  a lot of time. So it's very easy to exploit
• 43:50
  them and treat them badly. And The thing is, the empire
• 43:56
  benefits from what they're doing, yes, but they still want
• 44:00
  to go in and fuck around and hurt people.
• 44:03
  And it's, it's just one of those things where you're asking why?
• 44:10
  Why do you expend this much energy to just hurt and cause
• 44:14
  trouble? Yes.
• 44:16
  Because you're net positive, you know, by letting them do the
• 44:21
  work you're unwilling to do, correct.
• 44:23
  As as the empire, you know what I mean?
• 44:25
  Yes. So they're, they're growing the
• 44:27
  grain, they're harvesting it for you, they're processing it for
• 44:31
  you. Why are you complaining?
• 44:33
  You know. Because they can't.
• 44:34
  Because it gives somebody the power somewhere to do something
• 44:38
  over this group of people, and that's all they give a fuck
• 44:41
  about. And they're big and strong
• 44:44
  enough to actually protect these marginalized people, but they
• 44:47
  choose not to. It's a choice.
• 44:50
  It's a choice. So yeah, I think that it was.
• 44:54
  It's a very important dialogue that and, or is is raising.
• 44:59
  And just like in season 1, they didn't shy away from that kind
• 45:04
  of stuff. And I think it's very brave of
• 45:07
  them. And I think it's actually, I
• 45:08
  give Disney credit because Tony Gilroy has said that they backed
• 45:13
  everything he proposed 100% and didn't shy away from it even
• 45:18
  though it was uncomfy, you know? I also want to take a moment to
• 45:23
  if you think back to Season 1 of Andor, the mine, the miners, the
• 45:28
  the junk yarders, the people on ferrets, right?
• 45:31
  We'll consider them like blue collar.
• 45:33
  This is nothing to do with legal versus illegal.
• 45:37
  Whether you earned your spot or not.
• 45:39
  OK, you're there, you're working, you're doing something.
• 45:41
  And they come in and disrupt. Yeah, it's the same thing.
• 45:45
  And they're going to continue to do this.
• 45:46
  We saw it in the Ahsoka book where they come in, they rough
• 45:50
  up some community, take what they want, leave, and it's left
• 45:55
  people in shambles and without the means or the bodies
• 46:01
  necessary to put themselves back together.
• 46:04
  And I'm just going to, I'm just going to say this for the
• 46:09
  listeners out there that do not know.
• 46:10
  I don't speak on it often. I am a federal employee for the
• 46:13
  United States, for the, the federal government of the United
• 46:16
  States in a scientific field. And this is what's happening to
• 46:21
  us right now. And our, our level, our small
• 46:28
  level of fighting back is staying and doing our job and
• 46:32
  continuing to help the people of this country in our job, despite
• 46:37
  them trying to dismantle and bully us around.
• 46:40
  And I, I will continue to do that.
• 46:41
  My my Co workers will continue to do that because we are
• 46:44
  impassioned and we did this because we want to help people.
• 46:48
  And the comparisons and the parallels that I see in this
• 46:53
  show really made me cry at times because like, I'm really, really
• 46:58
  happy that Tony Gilroy, Disney and everybody took the time to
• 47:03
  show issues that span many different workforces, many
• 47:07
  different types of people. I'm talking degreed people,
• 47:10
  right down to blue collars who have no degrees and everyone in
• 47:14
  between. That is necessary to make a
• 47:16
  community, a system, a country, a a state of anything, a planet
• 47:20
  work, right? It comes down on the people
• 47:24
  whose backs that the Empire is slashing, you know, actively
• 47:28
  hurting. Yeah.
• 47:33
  But our resistance, the rebellion if you will, is to
• 47:35
  continue to do it. And that's why Kathleen's
• 47:37
  opening words in Episode 1 is they cannot win as long as we
• 47:40
  continue to remain. Yeah, yeah.
• 47:46
  I mean, it's, it's just important to see ourselves
• 47:50
  reflected in art or media, whatever you want to, however
• 47:55
  you want to look at it. And that's why stuff like Andor
• 47:57
  is so important and. Not only that, we'll jump ahead
• 48:01
  to Episode 3. We see how women are treated
• 48:05
  constantly by men in positions of power.
• 48:10
  Yeah, and there's something about the The first interaction
• 48:14
  between Bix and this Lieutenant happens in Episode 2, and he is
• 48:18
  polite and kind of charming. And the minute she gives on a
• 48:22
  slight polite resistance, mentioning she has a husband,
• 48:26
  his tone immediately changes. Immediately.
• 48:28
  Scary. It's very scary and I credit
• 48:30
  that actor because that fight scene, the struggle between them
• 48:34
  was so fucking good. It had to have been so tough.
• 48:38
  I know I was thinking that too, that I feel a little sorry for
• 48:43
  the actor because he's going to be hated because everyone
• 48:46
  associates people as their characters.
• 48:49
  But honestly, his performance was so very good and.
• 48:53
  Disturbing and disturbing and kudos to him because if you, if
• 48:57
  we hate a character, that means they did it right.
• 49:00
  Yes, and I'm thinking of you, Joffrey in Game of Thrones.
• 49:04
  That poor kid. But like, it has to be super
• 49:11
  heavy to act out scenes like that.
• 49:13
  Has to be. Oh my God.
• 49:14
  I don't know how they do. It yeah, we're jumping ahead a
• 49:18
  bit. I mean we, I think we should
• 49:19
  talk about it very specifically when we get there to in episode
• 49:23
  3, but yes, you're you're so right.
• 49:26
  It's I mean, that's the thing. This show is set in a Galaxy
• 49:30
  far, far away, but it's just a mirror to our own existence, so.
• 49:34
  I did have written down here that the paused shot of the
• 49:37
  flames of the cruise fire, that they're all sitting around
• 49:40
  talking was reflected on the eye of B2.
• 49:45
  Yeah. And did you notice how they
• 49:47
  paused and he and it was like flames.
• 49:49
  And I was like, oh, that's symbolic.
• 49:51
  I mean, every shot is purposeful, you know?
• 49:54
  I was like, why? Why is that very obviously there
• 49:58
  It's. Foreboding and horrible, but.
• 50:00
  Yeah. I love how he waits for Cassian.
• 50:04
  I just, I hope he finds a happy place.
• 50:06
  I hope he's taken care of. Did you notice he's a little
• 50:09
  like more banged up because he lives on a farm now?
• 50:12
  His, like his armor's, all dented.
• 50:14
  Did you see the like the giant ox that was in the background
• 50:18
  with his head in a through? And it was like, yes, an
• 50:21
  animatronic of some sort. I'm I'm guessing.
• 50:23
  But it was like very cool. I loved that.
• 50:26
  Do you know they literally planted a field of rye in the
• 50:31
  middle of England? I mean the Midlands to to film
• 50:36
  this? Like that's how fucking
• 50:37
  dedicated this show is. They will plant a field of
• 50:41
  grain. Well, I mean, some of those
• 50:44
  shots that they, they shot of like running through there and
• 50:49
  like hiding in the depths. You can't just fake that, you
• 50:52
  know? Yeah, I was, I was saying to my
• 50:55
  boyfriend, I was like, how did they do this?
• 50:57
  And he was like, oh, it's like the mat background.
• 51:00
  Like, yeah, I know, but like, the sequences of them in the
• 51:03
  grain, like running through it, it, it couldn't be faked.
• 51:07
  So even if they grew it and harvested it, dried it and then
• 51:12
  reset it up, because I have seen other movies do that where they
• 51:15
  set up bales of the grain so it actually looks like it's
• 51:17
  growing. Or whether they filmed in an
• 51:19
  actual growing field, it doesn't matter.
• 51:23
  The finished product was absolutely gorgeous.
• 51:26
  Can we just say that everything in the show is beautiful, like a
• 51:29
  painting? Totally.
• 51:31
  Totally unbelievable the imagery.
• 51:34
  I want the concept art book. Please Tony.
• 51:40
  I will buy it the minute it's available.
• 51:44
  I cannot wait. I hope they do that because
• 51:47
  every other fucking show gets it.
• 51:49
  Why can't Andor have it? It's.
• 51:50
  True, please. It's true.
• 51:53
  Did you notice the relics in the antique shop?
• 51:58
  I I did and I was trying to remember if they're the same or
• 52:01
  not from last season. It was the headpiece that Padme
• 52:05
  wears. Or at least people on Naboo.
• 52:08
  I don't know if it's a Padme, but it's Naboo.
• 52:12
  Yes, the like gold arched sun crown kind of thing.
• 52:17
  And then the species of plocoon that that thing was right next
• 52:22
  to it, I'm like, Oh my God, rest in peace to both of them.
• 52:27
  I was like, if I was a millionaire, I'd buy both pieces
• 52:31
  right now. Yeah, that shop is so cool.
• 52:35
  It is cool just again, like the art design and everything.
• 52:39
  Like the wedding continues in in this episode.
• 52:43
  There's the. I think this is the one where
• 52:45
  Perrin gives us. Speech.
• 52:48
  That shit was really good. That's some good writing.
• 52:51
  That was very interesting because for like multiple
• 52:55
  reasons to me, there was the whole the whole thing of it was
• 53:02
  a real, it's a real Tony Gilroy gem, right?
• 53:05
  Pain will find you. And he's giving this whole
• 53:10
  speech about hidden joy and kind of like hedonism, basically, you
• 53:14
  know, to, to like, find the joy and like reach for the joy.
• 53:19
  And while he's talking about this, they're cutting to Man
• 53:22
  Mothma and Vel and Lutheran. And these are people who can no
• 53:26
  longer grasp that tangible joy because they know the truth.
• 53:31
  And then there's this other layer to me, because Perrin
• 53:35
  himself is full of shit. Yeah, I thought it was very
• 53:40
  ironic that he gave this speech. Yes.
• 53:45
  This man, unhappily married, very much can't wait 2 seconds
• 53:51
  to start digging in at his wife again for something.
• 53:56
  And it just struck me of how it's very like real life, this
• 54:00
  empty tradition, right, of giving wedding speeches and
• 54:03
  oftentimes giving advice to the young bride and groom from
• 54:08
  embittered, conceited, resentful adults and parent is all those
• 54:13
  things. All of those things and more.
• 54:16
  Yeah, and I just, I, I found it very interesting and beautiful.
• 54:22
  Like it's beautifully written and it was just making me kind
• 54:24
  of pissed the whole time. Well.
• 54:27
  For Mon Mothma's sake, girl, she's probably sitting there
• 54:32
  going spit some more shit. But that's what they do.
• 54:35
  They live the whole their house. This wedding, the friendships of
• 54:41
  the people that are there, It's just one giant facade.
• 54:44
  It's just this veil that it's just, it's so everywhere in the
• 54:52
  Galaxy at this point because you know, Bail Organa is doing the
• 54:57
  same shit somewhere else, trying to keep it under wraps.
• 55:00
  You know, that so and so on from this planet who doesn't agree
• 55:03
  with this shit is doing it. You know, all of this.
• 55:06
  It's just so fake. And this shit goes on in real
• 55:10
  life all the time, all the time. You don't care about these
• 55:14
  people in this room. And those people are all in that
• 55:17
  room because she made a deal with the devil, basically with
• 55:21
  Skuldin to give her young daughter away for money.
• 55:24
  Yeah. I mean, not that he paid her,
• 55:26
  but he moved money financially. For her and that that didn't go
• 55:29
  well for him. Oh my God too.
• 55:31
  The whole stuff with Tay Calma was heartbreaking and so
• 55:36
  interesting. This is the real cost of a
• 55:40
  rebellion. Yeah, yes.
• 55:43
  And I just skipping into episode 3, I can't envision a better way
• 55:49
  to kind of embody that than her, than Mon dancing, dancing the
• 55:56
  pain away, dancing because you can't laugh, you can't cry, you
• 56:00
  have to hide it. Yeah, that whole sequence is
• 56:04
  awesome. I can't wait to we.
• 56:06
  Get. Yeah, it's just like, this is
• 56:08
  the cost of that. Lutheran's already been there.
• 56:12
  He's already in it. And I think his lot, his speech,
• 56:17
  his speech, his the lines he gives, his dialogue with Mon is
• 56:21
  very revealing of the fact that she's not at his level yet, but
• 56:25
  she's she's there now after these.
• 56:27
  Episodes now she is yes, she it's like the most painful way
• 56:31
  for her to realize anyone you ask for help, that's it.
• 56:34
  You're also making a liability immediately because you can't
• 56:38
  control some of these external things like his Tay's wife, you
• 56:42
  know, he and his wife have separated and I didn't get this
• 56:45
  at first. I had to go back and rewatch
• 56:47
  with subtitles because it was just so much dialogue and it was
• 56:50
  very dense and I was like, I think I'm missing something.
• 56:53
  He was saying that he had financial troubles.
• 56:56
  He stuck his neck out for her, helped her.
• 56:58
  She's happy. Skelton's happy.
• 57:01
  He lost money on investments because of things the rebellion
• 57:06
  did. Yeah, that's correct.
• 57:08
  And I had missed that at first. So it's like, not only did he
• 57:11
  stick his neck out, now he's financially almost ruined
• 57:13
  because of the people he's helping.
• 57:16
  It's very ironic that immediately, the minute he
• 57:19
  started saying that to her, made him a liability.
• 57:22
  Yeah. And Luthan knew, and he doesn't
• 57:24
  care. Yeah.
• 57:27
  The craziest part of this is that none of these people are
• 57:31
  going to get out clean. And it it begs the question, the
• 57:34
  age-old question, the philosophical pondering of what
• 57:38
  is the cost of a life? Yeah.
• 57:41
  Does losing 1 make it less evil than losing 10,000?
• 57:48
  Do you sacrifice 10,000 to save a million?
• 57:52
  Do you sacrifice what? Like can you even put that into
• 57:58
  words? Is there any way to justify it?
• 58:01
  And that's when, like when Cassian ends up saying like,
• 58:05
  we've all done things for the brilliant that we regret that
• 58:08
  we, we are not happy, we're not proud of everyone has blood on
• 58:12
  their hands, everyone. Yeah.
• 58:17
  It's like I, I don't, I don't know if this is right to say,
• 58:22
  but it's the cost of freedom. Yes, I mean everyone always says
• 58:28
  that, even about the American Revolution.
• 58:30
  It you don't get there without getting blood on your hands,
• 58:33
  which is, you know, the American Revolution, it's nothing to
• 58:37
  measure your revolutions by, but it's true.
• 58:40
  Like that's why whenever anyone says, oh, we need a revolution,
• 58:44
  it's like you don't know what you're saying.
• 58:45
  It's true. You have no idea to say that
• 58:48
  you're talking about not just however long that war takes, but
• 58:51
  generations of bloodshed back and forth as the pendulum swings
• 58:55
  back and forth. And the grudges that last and
• 58:58
  the laws and and bylaws that come after that affect one or
• 59:02
  the other negatively or positively.
• 59:05
  Like this shit just it, it's a ripple that can't be contained.
• 59:09
  And that's what's starting now. It's very they are navigating
• 59:15
  waters in this show in just these three episodes already
• 59:19
  that are. I can't.
• 59:20
  Like, it's fucking difficult, dude.
• 59:23
  Yeah, I know. And they did it with such grace.
• 59:26
  I don't how do they do it? I I'm just gonna keep it.
• 59:31
  I just don't have any answers. It's so good.
• 59:37
  Dude, every scene when mom mom mothma and her daughter is
• 59:40
  excruciating. It is, it is.
• 59:42
  It makes me want to slap that girl.
• 59:45
  I know she's been so brainwashed against her mother by I assume
• 59:49
  her father. I'm guessing that it's.
• 59:51
  It's just so messed up. But that that scene where Mon
• 59:54
  tries to tell her, you don't have to go through with this.
• 59:57
  There was something so deeply heartbreaking.
• 1:00:01
  And I'm, I'm really glad that they put it in there because to
• 1:00:05
  me it was so relatable of like the pain that women.
• 1:00:09
  Work through, and this is not at all to undermine the pain that
• 1:00:13
  men deal with, but there was something very particularly
• 1:00:15
  relatable for me at least. And I've seen a lot of women in
• 1:00:17
  my life do this, where they are bleeding inwardly and they brush
• 1:00:23
  one fucking tear away and get shit done and rise to that
• 1:00:27
  occasion and go back to work, even though inside they are in
• 1:00:31
  complete turmoil. And just because you can't stop,
• 1:00:35
  you know, there's no time to stop, no ability to stop and
• 1:00:38
  grieve or feel some pain sometimes.
• 1:00:41
  And I thought that was a very important scene to see.
• 1:00:45
  It shows her strength. But it also, I think, is just
• 1:00:48
  such a representation of a lot of mothers in particular.
• 1:00:53
  Yeah, yeah. Not that I am a mother, but you
• 1:00:56
  know, your kids will say things that are so hurtful and
• 1:01:02
  devastating and you have to keep going forward and love them
• 1:01:05
  anyway and forgive them. And it was just such a powerful
• 1:01:09
  scene and it's just so fucking angering because she doesn't
• 1:01:12
  deserve. It no and Genevieve's acting is
• 1:01:15
  is a lesson in subtlety and her the poise that that woman has on
• 1:01:22
  screen with this character is just I love to watch her on
• 1:01:28
  screen. I just do.
• 1:01:30
  I do too. She's captivating.
• 1:01:31
  Yeah, she's just such an important character, and the
• 1:01:34
  fact that we're getting all of this back story, as someone
• 1:01:39
  who's always been a figure in Star Wars but never really her
• 1:01:43
  own character, it's fantastic, truly fantastic.
• 1:01:47
  I know a two second throwaway part Return to the Jedi and now
• 1:01:51
  she's this, you know? The amount of sacrifice that all
• 1:01:54
  of these people have to give. And we know, we know the level
• 1:01:58
  of sacrifice that these people have to give.
• 1:02:01
  Yeah, it just breaks my heart because like, you know, we know
• 1:02:05
  it, but they don't know it yet, even though.
• 1:02:07
  Yes, you know, yes, it's fake. I mean, Diego Luna talked about
• 1:02:10
  that at Celebration, he said. I have to say this dialogue
• 1:02:13
  knowing what happens to my character, but he doesn't know
• 1:02:16
  what happens. You know, like the character
• 1:02:17
  himself doesn't know. Oh my God, it's so it's such an
• 1:02:21
  interesting dynamic. And I I guess there's like a
• 1:02:26
  comfort and knowing Mon Mothma survives, but like, Lutheran's
• 1:02:30
  not going to be, I mean, he wasn't in Return of the Jedi.
• 1:02:33
  I assume he's not going to be there.
• 1:02:36
  I'm good and he's the one. Telling her all the time, you
• 1:02:40
  know, in a way she's kind of his apprentice at this point and he
• 1:02:44
  probably knows he's not going to make it because he's, he's a
• 1:02:46
  hard ass. He knows he can stare death down
• 1:02:50
  and know and be like, OK with like, I've accepted this, but
• 1:02:53
  someone's going to have to follow in his footsteps at some
• 1:02:56
  point. And, and the faster she learns
• 1:02:59
  this, the more capable of a leader she'll be when it comes
• 1:03:02
  down to the hard stuff that awaits her that we all know of,
• 1:03:06
  but that she doesn't. I love that in storytelling,
• 1:03:10
  right, where you could just see the characters arc and they
• 1:03:12
  change. But for, I mean, usually it
• 1:03:16
  comes at a great cost, but they change for the better and become
• 1:03:19
  these incredible leaders. But because they have had this
• 1:03:23
  suffering and this sacrifice, you know, in their past.
• 1:03:27
  Oh my God, she's such a great character.
• 1:03:29
  She really is. I, I saw someone who was
• 1:03:31
  interviewing Tony Gilroy said, you managed to make me care a
• 1:03:35
  lot and get invested in Mon Mothma, right?
• 1:03:38
  Who is like a kind of a throwaway character.
• 1:03:41
  Just a figurehead, a a, a symbol of the rebellion.
• 1:03:45
  Yeah. And here we are.
• 1:03:46
  Like rooting for her. Hating the way her daughter
• 1:03:50
  talks to her. Like ready to go to bat for this
• 1:03:52
  woman against her piece of shit husband and her piece of shit
• 1:03:55
  friend, you know what I mean? Like.
• 1:03:58
  Damn. Can we finally talk about Cyril
• 1:04:06
  Mother? Coming to dinner, I just have to
• 1:04:09
  say in my notes, I put all that preparation was for Cyril's
• 1:04:15
  mother. I was not expecting that.
• 1:04:18
  I was thinking chronic Vader, Tarkin.
• 1:04:22
  Who are they getting ready for? You know what I mean?
• 1:04:25
  Like, who's coming to dinner? And it's this little woman, this
• 1:04:29
  little powerhouse, Here she comes whipping in like a
• 1:04:32
  tornado, you know, like, Oh my God.
• 1:04:36
  And they're so, they're just so weird.
• 1:04:39
  Like, I love that they're the whole sequence has this weird
• 1:04:42
  1960s cheerful background music. And they're fondue.
• 1:04:46
  Yes, I know fondue. Fondue.
• 1:04:48
  Like what the fuck? Oh my God.
• 1:04:53
  And like, I love seeing Deidre holding up.
• 1:04:57
  Right outfits or black. And they just look like Imperial
• 1:05:01
  uniforms, like they don't look like anything else.
• 1:05:04
  And she went with the black. She went with the fucking black.
• 1:05:10
  Her acting is fucking on point dude.
• 1:05:14
  Amazing. The little she does this thing
• 1:05:16
  with her finger when she gets annoyed.
• 1:05:18
  Yes. Have you noticed she does this
• 1:05:19
  thing with her? I fucking love.
• 1:05:22
  What's her name now? I can't think of her name.
• 1:05:24
  Denise Guff. Thank you, love her, love her.
• 1:05:27
  She ends in Kyle Sawler, too. Like they are just so good.
• 1:05:31
  And they, I loved seeing interviews with them together
• 1:05:34
  because we're saying how weird it was for them to perform these
• 1:05:39
  scenes where they just stand and look at each other.
• 1:05:41
  They don't even talk like there's none.
• 1:05:44
  There's that one moment where she reaches out and touches his
• 1:05:46
  face and it's like, it's not affectionate.
• 1:05:49
  It's. Weird.
• 1:05:50
  So I, I want to know, is this a relationship of convenience?
• 1:05:54
  Is it even a relationship? Is it a cover up?
• 1:05:57
  Are they working together as roommates?
• 1:05:59
  But under the guise like, I'll help you look like you have a
• 1:06:03
  girlfriend if you help me, you know, and I'll get you out of
• 1:06:06
  trouble with Ferrix and all this stuff.
• 1:06:08
  Like it's weird. I see no affection, not even
• 1:06:12
  from him, towards her. I heard her say something that
• 1:06:18
  it's more like she's she doesn't know what to do with him, so
• 1:06:21
  she's keeping tabs on him by keeping him close.
• 1:06:25
  This is not a relationship because either of them have
• 1:06:29
  feelings for anything I don't. Think although her interaction
• 1:06:36
  with Edie was very satisfying, it was so fucking great.
• 1:06:42
  That's I. Here's how it's going to work.
• 1:06:44
  And I'm this is not an option. This is what I'm going to do
• 1:06:47
  with him. And your interference is not
• 1:06:50
  enough. And the woman tried to speak and
• 1:06:53
  she's like, I'm not finished. It was.
• 1:06:56
  It was like the. Boss bitch back again like Oh my
• 1:07:00
  God. We find out that she grew up in
• 1:07:03
  the Empire. Like kinder Block.
• 1:07:07
  Like, Oh my God. What is that kindergarten in
• 1:07:10
  like a cell block? Yeah, like a child block.
• 1:07:13
  Yeah, it sounded and she said. Her parents were criminals.
• 1:07:18
  Yes, which could mean they were normal people that the Empire
• 1:07:22
  just deemed criminals. But she's so brainwashed that
• 1:07:26
  she thinks they're criminals. Yeah, and.
• 1:07:28
  I would look, I've never seen her hair down.
• 1:07:32
  And then she immediately put it back up and like, tightened it
• 1:07:36
  back up. But I loved when she said I was
• 1:07:39
  raised in an imperial kinder block and just took a bite of
• 1:07:41
  food and you hear the little teeth touch the fork.
• 1:07:44
  It's like, it's so perfectly edited.
• 1:07:47
  My God, it's so timed perfectly. Oh my God.
• 1:07:52
  That point when it just so Cyril like on the bed, exasperated,
• 1:07:58
  like he's given up. It's a new reaction meme
• 1:08:02
  immediately like escalated to meme level.
• 1:08:05
  #Mood, it was so fucking relatable.
• 1:08:13
  It really was. We've all been there, Cyril.
• 1:08:16
  Dear God. I've never felt more connected
• 1:08:19
  with his character than I did in that moment.
• 1:08:23
  I love it. The sequence too, where Edie is
• 1:08:27
  talking about how the the pleasantries of Coruscant and it
• 1:08:31
  would become apparent by contrast, wherever he went off
• 1:08:34
  to Moreland and he's like, are you saying I came home for the
• 1:08:38
  cakes? Yeah, yeah.
• 1:08:40
  And the little Fruit Loops that he ate, the little cereal that
• 1:08:43
  he got from her. Yeah, the whole thing.
• 1:08:45
  It was she. So good.
• 1:08:47
  You know, what's what, what's it's a, it's a very interesting
• 1:08:50
  contrast to Mon Mothma and how she spoke to her daughter Lita
• 1:08:55
  versus how this mother treats her son. 2 totally different
• 1:08:59
  levels of whatever the fuck that is.
• 1:09:05
  Excellent acting by all three parties.
• 1:09:08
  I'm sure that scene was a was just fun to shoot.
• 1:09:12
  Oh my God, I bet. I'm sure like just who hasn't
• 1:09:16
  been there though when the in laws show up you know.
• 1:09:21
  And it's like, oh man, you know, I love to.
• 1:09:25
  That apartment was so sterile, terrible and anal retentive, you
• 1:09:30
  know, meticulous type of. But then Edie comes in and she's
• 1:09:34
  orange. Yeah, a pop of color.
• 1:09:37
  Yeah. Even her fingernails were orange
• 1:09:39
  and she's spilling food on the day, which is funny because her
• 1:09:43
  home seemed meticulous in its own way.
• 1:09:46
  Correct. And I just love that she is
• 1:09:50
  chaos introduced into this world.
• 1:09:53
  Just this. Tiny little package too.
• 1:09:56
  What a fantastic. You know, I just, that would be
• 1:09:59
  such a fun role to play. Oh my God that actress is one of
• 1:10:02
  my favorites in the whole series.
• 1:10:04
  She's so good. Man, she was on screen for X
• 1:10:08
  amount of minutes. She will have lasting
• 1:10:10
  impressions. Yeah, Like, yeah.
• 1:10:14
  And she was asking for spiced tea.
• 1:10:16
  Do they mean spice as in Star Wars?
• 1:10:20
  Spice is she asking for? Drugs.
• 1:10:22
  I didn't. Fucking think of that.
• 1:10:24
  Well, listen, if anybody, if anybody needed the drugs, it was
• 1:10:28
  poor Cyril, yes. Seriously, he needed the drugs
• 1:10:32
  more. I guess not, because she did say
• 1:10:34
  I could run to the convenience store.
• 1:10:35
  Basically it's right over there. So I.
• 1:10:37
  Don't think they'd have like. Drugs at the convenience store,
• 1:10:40
  but interesting catch. You never know.
• 1:10:43
  Oh man. Well that was that was one of
• 1:10:47
  the most delightful parts of that episode.
• 1:10:49
  This weird domestic life that they live is so bizarre.
• 1:10:54
  Yeah, it really was. I guess we should get to the
• 1:10:59
  really heavy stuff, huh? Yeah, I think it's, it's
• 1:11:04
  important to talk about it, I think.
• 1:11:06
  Well, I just, I just have to say before we move on, when Cassian
• 1:11:10
  finally gets out of his predicament and outsmarts all of
• 1:11:13
  them, right? Yes.
• 1:11:15
  Outsmarts the entire crew on the ground and gets to where he's
• 1:11:19
  gone. He steals the Comm unit.
• 1:11:20
  He makes connection with the antique shop.
• 1:11:24
  Did you hear him say I need a weather report?
• 1:11:29
  Yes, I did. First of all, I felt called out.
• 1:11:34
  Secondly, the irony is there is no weather on Coruscant,
• 1:11:39
  correct? It's I believe so.
• 1:11:42
  It's a manly atmosphere with purposely 0 weather and I
• 1:11:48
  thought easiest weather report ever coming coming from an
• 1:11:55
  export. Clear.
• 1:11:58
  It's just like, I like that. I like that.
• 1:12:01
  The irony that there is still is no weather on Coruscant.
• 1:12:04
  He's asking for a weather report.
• 1:12:05
  Love it, love it. I felt personally called out.
• 1:12:09
  That's great trigger warning because we're going to talk
• 1:12:13
  about rape. Exactly.
• 1:12:15
  I I was going to say I wish. I don't know if there was a
• 1:12:19
  trigger warning on the beginning of the show.
• 1:12:20
  If there was, I didn't notice it.
• 1:12:21
  And I didn't notice it the second time I watched the
• 1:12:23
  episode either. I don't.
• 1:12:25
  I really wish I had seen one just to.
• 1:12:29
  Well, it did say it had the warnings, and it was like very
• 1:12:33
  coarse language. First of all, I love that it
• 1:12:37
  said coarse language. That's why it stuck out to me.
• 1:12:41
  But I don't think it said anything of sexual violence.
• 1:12:45
  I think it was just violent. I'm not sure.
• 1:12:48
  I did see the violence part. I don't remember seeing sexual
• 1:12:51
  violence, although I think it may have been added now because
• 1:12:55
  of enough people were like, hey, it would have been nice to know
• 1:12:59
  that that was coming up. I actually wouldn't have
• 1:13:02
  believed it if I had seen it because it's up until this point
• 1:13:05
  we've had kind of a watered down a vision of what the Galaxy is
• 1:13:11
  out there, yes. Turns out when.
• 1:13:13
  That humans live anywhere. Shit like this is going to
• 1:13:16
  happen, especially if you're a dirtbag.
• 1:13:19
  Yeah, and then and Tony Gilroy actually made a comment and so
• 1:13:23
  did Adria. Now that the episode has come
• 1:13:25
  out, they both made comments about it and he was saying that
• 1:13:30
  basically if there's war, there's rape.
• 1:13:32
  And he's not wrong. Like if you check history, that
• 1:13:35
  is why like people survive now because they, I mean, they're
• 1:13:39
  it's kind of like an ethnic cleansing will happen often
• 1:13:44
  where it's not just killing off people.
• 1:13:46
  Sometimes it's like raping people to continue your culture
• 1:13:51
  into a new place. It's very common.
• 1:13:55
  It's disgusting. It's like one of the most gross
• 1:13:57
  is part of humanity and and I had really mixed feelings about
• 1:14:04
  it being in the episode because I think it is important to talk
• 1:14:09
  about it and and what kind of hypocrite would I because I
• 1:14:12
  love, I love that Andorra is more realistic.
• 1:14:15
  I love that the the fear and the peril feels more real than it
• 1:14:20
  usually does in Star Wars. I will say I never thought that
• 1:14:23
  I was going to have to see a scene like that in Star Wars.
• 1:14:27
  And that's kind of why I love Star Wars.
• 1:14:29
  I feel a little safer watching Star Wars than watching other
• 1:14:32
  stuff. Yeah.
• 1:14:33
  Because not because I'm denying that it existing, but because
• 1:14:36
  Star Wars is my escapism. Yeah.
• 1:14:39
  But that being said, I think it was a very powerful scene, and I
• 1:14:45
  think they did it respectfully. I do and they.
• 1:14:48
  I do too. If it had gone any further, I
• 1:14:51
  might not watch the show anymore to be perfectly honest.
• 1:14:54
  They actually did it without ripping her clothes off, so they
• 1:14:58
  did not have to demean or be gratuitous in the way of getting
• 1:15:07
  it across without it actually having to be like, gross, right?
• 1:15:11
  You can have undertones or or overtones without it being
• 1:15:15
  demeaning to the actress or actor.
• 1:15:18
  It just wasn't that. To be completely honest, I was
• 1:15:23
  unfazed by it. And I don't know what that says
• 1:15:25
  about me or about our media that we we ingest regularly, but it
• 1:15:31
  was as common as a sunrise and a sunset in a scene to me, which
• 1:15:34
  is very, very fucking sad. Yeah, I think that's part of why
• 1:15:39
  I I really hate when rape is used as entertainment.
• 1:15:47
  And there are certain shows that I will not mention that are
• 1:15:51
  extremely popular that I will not watch because rape has
• 1:15:55
  become like a center point of that show in a way that feels
• 1:15:58
  voyeuristic and. Gross.
• 1:16:01
  And that's different than what happened here.
• 1:16:03
  This, I don't feel like this was a kind of like, oh, it was
• 1:16:07
  actually really sexy. It's like, no, it's violent and
• 1:16:10
  upsetting. And Adria said something amazing
• 1:16:14
  where she said that there's a feeling women get sometimes when
• 1:16:20
  a strange man is too close to them.
• 1:16:24
  And I've felt that myself. It's like a stranger feels OK
• 1:16:30
  breaking your personal barrier. And it's like now you're alert
• 1:16:35
  and you're you're uncomfortable. And of course, obviously this
• 1:16:39
  scene escalated into an incredibly violent situation,
• 1:16:45
  and I think that she performed it so beautifully.
• 1:16:48
  She really did. They both did.
• 1:16:50
  Honestly, it was I had a very visceral reaction to it because
• 1:16:57
  I know that, let me just say this has not happened to me, but
• 1:17:04
  I've been in situations where that person has crossed a
• 1:17:08
  boundary. You feel gross and disgusted and
• 1:17:14
  there's a part of you that just wants to acquiesce just to keep
• 1:17:17
  the peace because you're so afraid of something happening.
• 1:17:22
  But at the same time, how dare they?
• 1:17:26
  Yes. So do you know everyone's
• 1:17:28
  familiar with fight or flight and there's a third one called
• 1:17:33
  Fawn? Oh, Fawn.
• 1:17:34
  Or I guess that's a fourth. One fight, flight or freeze fawn
• 1:17:38
  is another one. And that's kind of what she
• 1:17:41
  started doing, saying that must be difficult for you, you know,
• 1:17:45
  those struggles, like. And it's to diffuse.
• 1:17:49
  Yeah, the situation. So you're trying to keep it from
• 1:17:52
  escalating. So you're being kind.
• 1:17:54
  And even though you're deeply uncomfortable, you're trying to
• 1:17:57
  like, you know, make people comfortable.
• 1:17:59
  Yeah. Let's calm down.
• 1:18:01
  Let's not go there. Please don't go there.
• 1:18:03
  Please don't make people there. Please don't do this.
• 1:18:05
  And I think she even said please no, she did.
• 1:18:07
  Don't do this. And I loved that her instinct
• 1:18:11
  was to just hit him really hard in the face.
• 1:18:13
  She didn't do that, I don't think purposefully.
• 1:18:15
  It was like once Bix got pushed too far because she was tortured
• 1:18:20
  in season 1, I actually felt very grateful that she wasn't
• 1:18:24
  going to freeze or fawn because a person who has trauma
• 1:18:28
  sometimes can't help the responses that they have.
• 1:18:32
  And hers was to fight and protect herself and I, even
• 1:18:36
  though, you know, we wished people could have run in and
• 1:18:38
  saved the day sooner, I think it was really important that she
• 1:18:43
  saved herself and had agency in the moment, even though it was
• 1:18:46
  really fucking upsetting. Well, it's, it's a, it's a human
• 1:18:51
  reaction to protect yourself by any means.
• 1:18:56
  Now I can't believe he got up after getting hit in the head
• 1:18:58
  with a fucking wrench or whatever.
• 1:19:00
  I'm like, damn dude, get down. Just stay down.
• 1:19:04
  Yeah, fucking creep. But like very real, very real
• 1:19:08
  scenario and the roles. I'm not saying it's man on
• 1:19:12
  woman. It could be gender on gender of
• 1:19:15
  your choice. This happens across the board.
• 1:19:19
  Yeah. It was uncomfortable, but it was
• 1:19:21
  not gratuitous and I'm I'm OK with it.
• 1:19:24
  I just don't want any more of it.
• 1:19:27
  Yeah. And the thing that, the thing
• 1:19:29
  that I think really upset me was it was so upsetting that I then
• 1:19:36
  forgot about everything I'd watched prior.
• 1:19:39
  And that's why I feel like it would have been nicer if we got
• 1:19:42
  one episode a week so you could digest it.
• 1:19:45
  Because that, to me, it was not expecting it at all.
• 1:19:49
  I mean, I, I was expecting the, the vibe was indicating it.
• 1:19:53
  I didn't think they were going to take it as far as they took
• 1:19:55
  it or have it be as violent as it was, because it was actually
• 1:19:58
  quite violent for Star Wars. I mean, and there's blood, which
• 1:20:02
  Star Wars is famous for not having any blood.
• 1:20:05
  And then, like, it was all I could think about for the rest
• 1:20:09
  of the night. And I had forgotten all the
• 1:20:12
  other episodes. So when I went back and
• 1:20:14
  rewatched it, I knew it was coming.
• 1:20:15
  I was able to, like, really take the scene in and like, it didn't
• 1:20:19
  undermine the rest of the story. But in that moment that's to me
• 1:20:23
  it was like, I'm so shocked now I can't even remember the other
• 1:20:27
  two episodes. So that that was 1 detriment.
• 1:20:31
  I would say to like releasing blocks of episodes at once
• 1:20:34
  instead of one at a time. And the other shoe dropped very
• 1:20:41
  shortly after. Yeah, this is where I lost it.
• 1:20:48
  When? Brasso died.
• 1:20:50
  Yeah, that was. I really was hoping that he was
• 1:20:53
  going to be OK. I didn't think he would go, not
• 1:20:57
  this soon, not the way that he went and the fucking terrible
• 1:21:05
  way the choice that casting had to make to just leave him there.
• 1:21:09
  I know. And that scene with him when
• 1:21:14
  casting gets out of the ship and runs to him.
• 1:21:17
  And it's like, all I could think of was that last episode of
• 1:21:22
  Season 1 where Brasso is telling him what Marva said and how
• 1:21:27
  important that was and how their friendship was so beautiful.
• 1:21:33
  And for it to end so suddenly and and shockingly, and it was
• 1:21:40
  really well acted, but it was really deeply heartbreaking.
• 1:21:43
  I cried. I couldn't help it when Cassian
• 1:21:47
  kissed like the top of his head, you know?
• 1:21:51
  It's just like two brothers who've been through it, you
• 1:21:54
  know? And it like, like, I kind of
• 1:21:57
  know that not everyone's going to live because fucking Star
• 1:22:00
  Wars, right? But and like Rogue One is
• 1:22:03
  staring us in the face and like, no one's going to get out.
• 1:22:06
  OK, This is just the beginning. And I don't think I've ever
• 1:22:10
  loved anyone more than I've loved Brasso.
• 1:22:13
  I just, he's just such a pure, like it wasn't time.
• 1:22:17
  I wasn't ready, God damn it. And he doesn't get a brick.
• 1:22:22
  He doesn't get a brick, I know. Like he doesn't get to, I know.
• 1:22:29
  The whole scene was really heartbreaking and and he doesn't
• 1:22:32
  even get a death scene. He's just dead.
• 1:22:34
  That's it, You know, like casting just shows up and he's
• 1:22:36
  dead. There's no more words to say
• 1:22:38
  and. That's what we're up against.
• 1:22:40
  This is it like, which blended perfectly into the ending scenes
• 1:22:44
  of Mon losing her fucking mind. I mean it.
• 1:22:48
  And it was spliced with the scenes of them on the ship, like
• 1:22:51
  facing the reality that those are the three that are left, you
• 1:22:55
  know, I mean, I know, I know there's that other group that
• 1:22:57
  got away with with. My brain just kept thinking and
• 1:23:02
  then there was 3. Yeah, yeah.
• 1:23:04
  And then there's only three more blocks of episodes left, so
• 1:23:08
  we're going to lose somebody in every block of episodes, is
• 1:23:10
  that? I believe that is correct
• 1:23:13
  because we're down to Cassian by the end of this.
• 1:23:17
  Exactly. You're not the only one who's
• 1:23:19
  lost everything. Yeah, I think it's.
• 1:23:23
  And so I wanted to talk about this sequence in particular
• 1:23:26
  because it's displaying something called dissonance,
• 1:23:29
  which I mean, dissonance is its own word just in general, but
• 1:23:35
  when it's applied to cinema, it's where the audio and the
• 1:23:39
  video or the action does not match the audio.
• 1:23:43
  And so like the, the scene where Brasso's dead and Cassian says
• 1:23:47
  we have to go and they, you could feel the music like rising
• 1:23:51
  emotionally. And then they cut really fast to
• 1:23:54
  Mon Mothma sequence and the dance music's going and it, if
• 1:23:58
  you notice, I don't know, I was paying attention to my own
• 1:24:01
  emotions at the time and I was like just about to cry and they
• 1:24:04
  cut the scene and it like really interrupted my emotional
• 1:24:06
  experience. And that's on purpose.
• 1:24:10
  It's what the characters are going through.
• 1:24:13
  It's like they don't have time to grieve or process what
• 1:24:17
  happened to Brasso. It's immediately we got to go.
• 1:24:20
  We just got to move on. That's interesting.
• 1:24:21
  And you, you don't. It's like when Marva died off
• 1:24:25
  screen. Yeah.
• 1:24:27
  And like, Cassian is like us. We're like, wait, what?
• 1:24:29
  Marva's dead. Yeah.
• 1:24:31
  How did that happen? It's like we are having the
• 1:24:33
  character's experience where you're not given time to grieve,
• 1:24:37
  and you go right into this dissonance with this loud music
• 1:24:41
  playing. It's upbeat.
• 1:24:42
  It's like disco, dance, whatever.
• 1:24:45
  Electronica music. Mon Mothma's having a fucking
• 1:24:47
  meltdown. The Cassian and his friends have
• 1:24:51
  just lost one of the cornerstones of their
• 1:24:54
  friendship, you know? And Vel is sitting on the floor,
• 1:24:59
  totally ruined because she saw Sinta.
• 1:25:02
  Who's driving Mon's best friend to his death?
• 1:25:06
  Exactly. Like she's been called in
• 1:25:08
  specifically to kill Tay, which is just dark.
• 1:25:12
  It's really dark and sad. Very.
• 1:25:14
  Dark and they just get a fleeting glance at each other
• 1:25:19
  and no words are spoken there. Yeah, can't say anything.
• 1:25:22
  It's so it's so fast that Tay doesn't even notice it because
• 1:25:28
  Sinta turns just in time, you know?
• 1:25:30
  It's so fucking devastating. But like, dissonance is
• 1:25:35
  specifically designed to either heighten like an emotional
• 1:25:40
  experience for the audience or make you deeply uncomfortable.
• 1:25:45
  Which, if you've ever seen Reservoir Dogs, there's a very
• 1:25:49
  famous scene of dissonance in there where somebody cuts off
• 1:25:51
  somebody's ear while listening to the song.
• 1:25:53
  Stuck here in the middle with you, Like.
• 1:25:55
  It's really, Yeah, yeah, that's a.
• 1:25:56
  Nice. It's real fucked up or it's
• 1:26:01
  designed to give you the experience, like the internal
• 1:26:04
  experience that the characters are having.
• 1:26:06
  And I think that's really what we were getting in these last
• 1:26:09
  couple minutes with that and I was not liking it.
• 1:26:13
  I paused it after I realized Brasso's done.
• 1:26:17
  I had to pause it because I needed, yeah, I had to sit with
• 1:26:21
  it. So I didn't get that experience
• 1:26:24
  because I paused it. So maybe I should rewatch it and
• 1:26:26
  go through it like it was intended.
• 1:26:28
  But you know me, I'm fucking soft, so I have to like, have my
• 1:26:33
  moment. I knew we were like right at the
• 1:26:36
  end, so I just let it play out. And then after that, I just sat
• 1:26:38
  on my couch for a really long time because that ending, like,
• 1:26:42
  it was the rape sequence followed by Brasto's death,
• 1:26:45
  followed by no time to like process it.
• 1:26:48
  And at the end, I was like, I'm very anxious.
• 1:26:51
  I feel very upset. And it was kind of how I felt
• 1:26:54
  during the Narcena 5 episode too, where it was like, I'm so
• 1:26:58
  upset. I need to process this out.
• 1:27:00
  And I think it was all on purpose.
• 1:27:04
  I think I was feeling exactly what I was supposed to feel.
• 1:27:08
  And that's why I don't think it was a negative.
• 1:27:10
  I think it was actually a really powerful sequence and I didn't
• 1:27:13
  enjoy my experience on purpose. Like I think you're you're
• 1:27:17
  supposed to be uncomfortable in that ending.
• 1:27:21
  Now it cuts to a year. Right now we have a year has
• 1:27:25
  passed after those scenes. Yeah.
• 1:27:27
  So it's like we have to leave the dead behind in order to move
• 1:27:32
  forward. I, I wrote this down.
• 1:27:37
  I wrote a gilded cage. When it comes to Mon Mothma and
• 1:27:43
  what her life is turning into, the dancing shows her chaos, her
• 1:27:48
  letting go, dancing to hide the pain.
• 1:27:51
  It's a turning point for her. There's no going back.
• 1:27:53
  And I think honestly, it might be the last time she's able to
• 1:27:58
  even let loose. I mean, she has to lose her
• 1:28:02
  family at at some point. We know she's she's going to
• 1:28:04
  have to either separate or lose them or how it goes down, we
• 1:28:08
  don't know yet. It's so important that you you
• 1:28:11
  say that because there is this, there's a cinematography thing
• 1:28:15
  about her in particular I wanted to mention, and I've forgotten,
• 1:28:19
  there's this a shot of her where she's walking through the crowd
• 1:28:22
  and she's going the opposite direction of the dancers
• 1:28:25
  spinning the other way and she picks up a drink and she throws
• 1:28:29
  it back. She's in the center of the focus
• 1:28:31
  the entire time, even the handheld cameras moving around
• 1:28:34
  her on a body gyroscope and she's centered and focused.
• 1:28:39
  Everything around her is blurry, which implies that she she knows
• 1:28:44
  why this wedding is taking place.
• 1:28:46
  She knows what is going to happen to Tay.
• 1:28:49
  She knows what her truth really is.
• 1:28:52
  She's the only one with all this knowledge while everyone else is
• 1:28:54
  out of focus. And there's this shot of her
• 1:28:57
  alone in the crowd because that's all she ever fucking is,
• 1:29:00
  is always isolated and alone. And she's got her back to us
• 1:29:03
  facing the family. And she turns away from that.
• 1:29:08
  So she's turning away from like culture, party, tradition,
• 1:29:12
  family and looks back at us and you realize she's going to have
• 1:29:16
  to leave this, all of this. And it's all visually implied
• 1:29:20
  through this oneness sequence. It's really beautifully and like
• 1:29:23
  brilliantly done. It's so awesome.
• 1:29:26
  The whole that whole, what was it like last half hour, 15
• 1:29:30
  minutes of that episode really, really drove it home.
• 1:29:35
  Just the amount of loss. But I find it ironic.
• 1:29:40
  And again, Tony Gilroy gem as delivered through Lutheran.
• 1:29:44
  She's like, I don't what are you trying to tell me?
• 1:29:46
  I don't understand what you're trying to tell me.
• 1:29:48
  He's like, oh, how, how good for you that you don't that you
• 1:29:50
  don't get it, how easy for you or whatever phrasing he used.
• 1:29:54
  And it's like, you need to speed up here, mom.
• 1:29:58
  And then I think when it does hit her, it, it's all she can do
• 1:30:03
  to not fucking lose it, 'cause remember, I mean, she from the
• 1:30:06
  last season, she said remember to smile.
• 1:30:09
  And that's what she's telling herself.
• 1:30:11
  Stay poised, smile, get lost in the dance so nobody knows that
• 1:30:16
  your whole life is falling apart.
• 1:30:18
  I think Perrin notices though. He is no fool.
• 1:30:23
  Yes, I wrote that down. Really.
• 1:30:26
  Space Twins. I just don't know how it's going
• 1:30:29
  to come to the surface with him. Yes.
• 1:30:31
  Exactly because he also, there's a a moment where he was watching
• 1:30:35
  Lutheran and Clay as well. And it's like, oh, I think he
• 1:30:38
  suspects something there. But The thing is, is who is he
• 1:30:41
  actually in cahoots with? Because in the previews we see
• 1:30:45
  Mon in the Senate. So I don't know if they're going
• 1:30:50
  to talk about Gorman because I'm pretty sure she is the leading
• 1:30:54
  force of like, I'm done. Gorman is where I draw the line.
• 1:30:58
  So I wonder if he has a foot or a hand or whatever appendage.
• 1:31:05
  Ponytail. Has a fucking man bun in the say
• 1:31:09
  of some of the shit that's going on and they're two opposite
• 1:31:14
  faces of the same coin. One is for the empire, one is
• 1:31:17
  for not for the rebellion. And they're just playing each
• 1:31:22
  other. It's so gross.
• 1:31:24
  Like the the level of fakery and fuckery that goes on.
• 1:31:30
  I can't do it. I'm not a politician.
• 1:31:32
  I can't be in that realm. I know I can't either it would
• 1:31:36
  it would drive me insane or lose my mind.
• 1:31:40
  All right. Do you have any final thoughts
• 1:31:42
  that we haven't covered in this very long deluxe episode of Most
• 1:31:46
  Things Kenobi Because we just covered all things and OR?
• 1:31:52
  Yeah, I mean, the only thing I have left to say is just like,
• 1:31:55
  it's perfect. It's just a masterpiece.
• 1:31:57
  And I'm so glad we're getting this.
• 1:31:59
  And I cannot wait for more. And I'm terrified of more so.
• 1:32:03
  Yeah, this is, this was an excellent first start, first 3
• 1:32:07
  episodes, fantastic. Like we said at the beginning,
• 1:32:11
  we will. I mean, we spent a lot of time
• 1:32:13
  on this, but we'll go back and do a separate episode or two or
• 1:32:17
  4 delving into the more minute pieces that we love from the
• 1:32:22
  show when it's all said and done.
• 1:32:24
  So yeah, damn well, well done so far, right?
• 1:32:30
  Yes, bravo. Great.
• 1:32:32
  Continue. So our next episode is all about
• 1:32:41
  Andor season 2 episodes 4-5 and six will be her next week with
• 1:32:47
  it. Yes, and.
• 1:32:49
  Just strap in folks, we're in it.
• 1:32:54
  Thank you so much for joining us.
• 1:32:55
  Here are the Most Things Kenobi podcast.
• 1:32:57
  We appreciate every single one of our patrons and are grateful
• 1:32:59
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• 1:33:01
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• 1:33:04
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• 1:33:12
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• 1:33:20
  So until next time, Myspace Twin, may the Force be with you.
• 1:33:25
  Always.