Latest news with #TonyGilroy
Gizmodo
a day ago
- Entertainment
- Gizmodo
‘Andor' Put So Many Easter Eggs in Luthen Rael's Shop
You knew about the 'Indiana Jones' one, but did you see the winks at 'Revenge of the Sith' and 'Phantom Menace'? One of the many, many things that makes Andor so great is that it's uninterested in fan service. There are no gratuitous cameos. No wild, broad connections. First and foremost, creator Tony Gilroy wanted to tell an emotional, impactful, and timely story of heroism and hope, which just so happened to be in the world of Star Wars. But that doesn't mean other members of his team didn't want to have a little fun, and the set and prop designers did just that. In the first season of Andor, fans instantly noticed that Luthen Rael's shop on Coruscant was filled with recognizable and clever winks and nods to Star Wars and Lucasfilm projects of the past. The most famous, of course, were the Sankara stones from Indiana Jones and the Temple of Doom, but Luthen also had Sith artifacts, Mandalorian armor, and more. All of which made sense. Luthen, after all, does deal in rare artifacts and antiquities, so he would be interested in acquiring and selling things of this nature. This season, that was taken up a notch, and the official Star Wars website has a post breaking it down. Like, for example, Luthen has a Sith Chalice on display, much like the one Palpatine had in his office in Revenge of the Sith. There's a Kalikori, a prized Twi'lek family heirloom, much like the one we've seen from the Syndullas in Star Wars Rebels. There's a Royal Naboo headdress that looks very similar to one Queen Amidala wore in The Phantom Menace (shouldn't Bail Organa have picked this one up to hold for his daughter?). Finally, there's even a Gungan skull. Which Gungan? We don't know, but I'm sure many of us have a few top choices. You can see images of those and more all over at The same article also reminds us of everything from Andor season one, including a Jedi Temple Guard mask, like the ones from Star Wars: The Clone Wars; a Gungan shield as seen in The Phantom Menace; and another Naboo headpiece, this one resembling one Padme wore in Attack of the Clones. Again, Bail, why didn't you buy these? The best part about all of this is it has nothing to do with the story. There's no impact on Luthen and Kleya's work in the shop. No smoking gun to solve a problem. It's just there to remind you this story is happening in a world where all of this other stuff happened too. Both seasons of Andor are streaming on Disney+. You can see the above artifacts most specifically in episodes five and 10 of season two, as well as four, five, and seven of season one.
Gizmodo
3 days ago
- Entertainment
- Gizmodo
‘Andor' Star Adria Arjona Talks About the Moment She Knew Bix's Big Secret
That big reveal at the end of Andor led to huge fan speculation regarding Bix Caleen (Adria Arjona) and her choice to depart the rebel base in season two of the hit Star Wars series. And now in an interview with Collider, the actress opens up about why Bix left Cassian to his destiny in Rogue One, confirming theories that have abounded after the series finale. 'Yeah, I think she knows,' Arjona said, referring to when Bix became aware of her big secret. 'I think she knows when she's making the [good-bye] letter. The only reason why I'm actually really confirming it is because I heard [Andor creator Tony Gilroy] say 'yes'. I wouldn't have said it otherwise.' So, yes: Bix knew that she was pregnant with Cassian's baby when she left. 'She sees Cassian going the other route. She's like, 'I can't be the reason that he doesn't get to do what he's destined to do,'' she said of her character's inner conflict about whether or not to tell him. 'Especially if she tells him that she's pregnant, Cassian will quit it all. Cassian is willing to give up everything for Bix, and Bix knows that. That's how important Bix is for Cassian. It's a big sacrifice that she makes, a big love sacrifice not only for what's best for Cassian, but also for what's best for the rebellion. She says it: 'I choose rebellion.' But ultimately, she's choosing the future of her family and the future of the galaxy that she's going to raise this child in. It's a big mother instinct that kicks in. I don't know how she would have made that decision otherwise.' Knowing Cassian's importance to the Rebellion is what motivates her to keep it a secret in the hopes that he will return to them when its all over. The transmission to her love is one of the most beautifully powerful moments in the series and heartbreaking at that—since we know where Andor's journey will end. That's something Arjona shared was a challenge to keep out of her head while playing someone who had unwavering hope she would meet him again. 'I had to step away from my love of Rogue One and A New Hope to really be able to play the letter and to be able to play the last shot, because I was a little too connected, and Bix obviously isn't.' And that made Arjona's read of the lines in the letter even more impactful. 'There's a beautiful element of hope in that last scene. She says it in her letter: 'When this is over, when it's all done, we'll meet again, and we'll be fine.' She has never had a doubt that Cassian will be back. There's a lot of hope in that last shot that he'll be back and they'll raise a family. I think that's what's so heartbreaking about it.' It is all the more gut-wrenching and tear-inducing for fans of the characters who have gotten such an important backstory that we're just not ready to let go of yet. It's why the surprise of baby Andor was such a beacon of light and a huge payoff we see that Cassian doesn't. The profound and poignant ending was masterfully pulled off by Gilroy, Arjona elaborated. 'When he told me that the last shot of season two was going to be me holding Cassian's baby, it just blew my mind, because he told me something very similar at the beginning of season one. He was like, 'Don't worry, it's all going to pay off.'' 'That's something that a lot of creatives promise to get the cast that they desire, but never actually follow through on, and Tony actually followed through and gave me a lot of very pivotal moments in this season, and then gave me the end.' The coda truly adds a satisfying layer to Andor's sacrifice by focusing on Bix and the baby seeing the sunrise he won't live to see. And as massive Arjona fans, we can't help but hope Bix's story isn't over yet.
Geek Tyrant
5 days ago
- Entertainment
- Geek Tyrant
Mon Mothma Actress Genevieve O'Reilly on Building ANDOR's Quietest Tragedy with Tony Gilroy — GeekTyrant
In a galaxy ruled by empires and explosions, some of the most devastating moments come not from space battles, but from quiet, human decisions. That's exactly what Andor Season 2 delivered in one of its most gut-wrenching scenes, thanks to a powerful collaboration between actor Genevieve O'Reilly and series creator Tony Gilroy. In Episode 3 of the new season, Mon Mothma (O'Reilly), a key architect of the rebellion, faces a deeply personal crossroads. As her daughter Leida (Bronte Carmichael) prepares to enter a traditional Chandrilan marriage, Mon—haunted by her own loveless union—offers Leida a chance to walk away. The scene doesn't hinge on action or spectacle, but it hits just as hard: a mother offering her daughter freedom, only for the daughter to choose the cage. Turns out, that emotional pivot was born from a quiet, behind the scenes conversation. 'Tony and I had discussed this when he said she was getting married and I was like, 'Oh, no, she's not gonna do this to her daughter. He's great about having character conversations with actors. 'He's so deeply collaborative and curious about the actor's perspective. I remember saying to him, 'She has to give her an out. If it's that woman who was there in Rogue One and Return of the Jedi, I understand that there's a pain within her. But if it is that woman who can be a pillar, then what would she do?'' That openness allowed space for something honest and devastating to bloom. What Mon gives her daughter is not control, but a choice. And the fallout crushed her. 'And then for Leida to turn the way she did, it just broke my heart. It's deeply brutal but it was a moment for Mon to gather herself. We saw that. We saw the pain. And I'm sure there were many reasons, but there is a power dynamic shift where Mon steps in to who she is. 'You end in this huge, big [dance] piece where you understand the chaos that everyday people have to hold. And not just everyday people, but somebody who's managing to help build rebellion; what that is and what that chaos within that woman must be.' This is what Andor continues to do better than almost anything else in the Star Wars universe, turning the rebellion into something personal. Every glance, every silence, every difficult choice deepens the story. It's not just about good versus evil. It's about what you sacrifice to do what's right, and what it costs when the people you love make different choices. Source: GamesRadar+
Geek Feed
6 days ago
- Entertainment
- Geek Feed
Andor Showrunner on Why Recent Marvel Projects Fail
Tony Gilroy has been in the center of the spotlight ever since the finale of Andor , and while everyone wants to know what his takes on Star Wars are, some are curious about what he thinks of Disney's other big franchise—the MCU. In a recent talk with /Film, Gilroy talks about how the first pitches for Andor were actually like Marvel films, to which he says: 'Trying to get the, what do they call it? I can't remember the name of the box. What the f*** is the name of the box in 'The Avengers'? What the f*** are they going for? […] The Tesseract! That's why all those Marvel movies are all — that's why they fail. You're just constantly … if that's all you're doing, then all you're doing is just trying to get the Tesseract.' For some added context, when Andor was first brought to Gilroy, it was more of an adventure of the week series with Cassian and K-2SO. Gilroy then took the concept, gave it his own anti-fascist spin, and was then allowed to make the show that we eventually got. Admittedly, Marvel has been in kind of a rut, and while Thunderbolts* has been doing well on terms of buzz, it isn't exactly doing the same kinds of numbers that Marvel had been used to during its Infinity Saga run. And even when Thunderbolts* did feel unique in terms of story, there was still the McGuffin (Bob) and the team still had to get together to stop/save/posses/control it. Who knows, maybe there's room now for more experimental Marvel projects moving forward, but something wilder with the storytelling; not something like Eternals (sorry Chloe Zhao). Catch the fuil Andor series now streaming on Disney+.
ABC News
23-05-2025
- Entertainment
- ABC News
Star Wars' fascist dystopia has never felt closer than in new season of Andor
"The axe forgets, but the tree remembers." Arvel Skeen, Andor I suspect the world is divided into two groups: those who worship Star Wars and can spend hours arguing over the complexities of far-flung corners of its universe; and those who swipe left and close the app immediately they see that someone has mentioned George Lucas' creation as one of their great loves. I do not mean to suggest that a Star Wars passion is gender divided: just like the many worlds within the galaxies of the universe itself, it's not. But the genre has become something of a shibboleth for a certain kind of focus that is rivalled by perhaps only Jane Austen and Lord of the Rings fans: people whose imaginative lives are spent deep in a completely made up other world. If Star Wars is your thing, you speak a language and understand a lore that connects you wordlessly to an entire community. All of which makes the most recent contribution to its cinematic literature even more remarkable than the universal acclaim it's received: for there are no light-sabre fights, no heavy-breathing Darth Vader, no Princess Leia — no cute, fluffy animals in this new show. Only a deathlessly serious analysis of fascism, the origins of rebellion and the socio-political realities of uprisings. Star Wars has just created the greatest study unit for the history of revolutions that any university could possibly want. The two-season television show, Andor, was created by US writer, director and producer, Tony Gilroy — who broke new ground with his Star Wars franchise movie, Rogue One — and his intention was to create the most complete portrait of revolution, its origins, failings and successes, ever seen on screen. It tells the story of Cassian Andor, played by Diego Luna, an originally minor player in the rebellion that drives the Star Wars story, showing his unintended development from angry young man into a revolutionary driven by the oppression of his times. Tweezering aside the kitschy distractions of many Star Wars characteristics, Gilroy was left with the heart of its own story: dispossessed rebellion by oppressed ethnic and culture groups across nations, aided by upper class resentment of control as they rise up against the faceless tyranny of the Empire. The random detainments and deportations; the capricious taxations and work orders; the military presence and oppressions; the culture of fear the repression of free speech; the nervous resistance of some in the ruling class, and authority's impulse for retribution and punishment. Sound familiar? It's supposed to. Gilroy, a student of the Russian and Haitian revolutions, describes revolutions like families: "They're all unique and they're all the same," Gilroy told the Peabody podcast, We Disrupt This Broadcast. "I've been able to just sort of catalogue-shop history in a horrifying way all through the whole show." And so the histories of Tiananmen Square and Bloody Sunday haunt a shocking massacre of civilians in their occupied city; like the Middle East, hard-line guerillas split from the cause in disdain of the soft tactics of the rebel authority; like South America, mercenaries are hired to foment local trouble to justify a tyrannical crackdown; and like every revolution there has ever been, innocents become collateral damage to the importance of the "movement." But the present rings loudly, too. The culture we create and absorb grows from the nature of our times, and the portrait of tyranny and proto fascism crated in Andor is uncomfortably close to ours. The only real difference, as Gilroy sees it, between Russia, France or now is the rapid pace of communications and disinformation — an upgrade for modern-day fascism via the Tech Bros who decide to climb on board. But you should know that this also a beautifully produced and designed series: exquisite art direction, breathtaking costumes by celebrated Australian costume designer, Michael Wilkinson, and world-creation that glowers with a timeless brutalism that any resident of London, Caracas or Melbourne would recognise. And that's part of the connection too: fascist dystopia never felt so close. Andor has become the only television show in history to have five episodes in a row with a rating of 9.5 or higher on the review aggregate website IMDb, and is regarded by some critics as having some of the best TV episodes of all time. I am among them, and as someone who frantically scours overlapping platforms for the best TV writing, I thought that the language of Andor soars. Gilroy puts into the mouth of one of his most endearing characters, the idealistic young rebel, Karis Nemik, a speech for the ages on freedom and tyranny. He says: "Freedom is a pure idea. It occurs spontaneously and without instruction … Tyranny requires constant effort. It breaks. It leaks. Authority is brittle. Oppression is the mask of fear. Remember that. And know this: the day will come when all these skirmishes and battles, these moments of defiance will have flooded the banks of the Empire's authority, and then there will be one too many. One single thing will break the siege. Remember this. Try." It's the kind of speech you may yet hear in real life, one day. This weekend, you can see how this past informed our future too, with a fascinating investigation into the Australians who fought against fascism in the Spanish civil war. Empires everywhere. Have a safe and happy weekend, and if like me you are still filled with the pleasure of having inhaled season two of Andor — you'll be expecting me to play this; and if not, this banger is about to go straight to your dance list. It's the wedding remix of composer Nicolas Britell's original track, Niamos, for season one. The club world is waiting for Britell to drop the original — in the meantime here's the moment. Go well. Virginia Trioli is presenter of Creative Types and a former co-host of ABC News Breakfast and Mornings on ABC Radio Melbourne.
