Harvest

When the ragtag and inept group of leaderless Rebellion fighters tried to settle their infighting with a galactic version of rock/paper/scissors, the full genius of Tony Gilroy's writing was shown.

I love "Andor" more than any Star Wars movie or series. Like many, I've been watching anything and everything to do with Star Wars since the very beginning. "Andor" finally, FINALLY filled what I didn't even know was missing. "Andor" gives us a full, detailed, emotional and passionate back story as to how the Rebellion impacted the general population. We already know about heroic Jedi, Starfighter battles and adorable (or quirky) aliens, so it is a relief to understand why a galactic war is necessary.

Fighting back against the Empire is astronomically expensive (pun intended) and procuring those funds is fraught with intrigue, danger and boldness. This episode shows exactly how money plays into any war. Mon Mothma is on a terrifying, emotional roller coaster surrounding her financial backing of the Rebellion and we all should applaud Genevieve O'Reilly for bringing IT to the role. The Empire has its own troubles in procuring a much needed mineral (calcite) from planet Gorman and this is where Dedra Meero enters the narrative. By the way, that dinner between Dedra, Syril and Eedy may go down as the most delightfully nutso family dynamic to grace the small screen. I actually found myself cheering for Dedra and Syril even though they are the Bad Guys.

Yet most important to these early episodes, we see how the Rebellion has as many bozos fighting in the ranks as the Empire has in their ranks. Or maybe that is too harsh of an assessment. The discombobulated, messy group of Rebellion fighters who hold Cassian prisoner are hungry, tired, scared, frustrated and worst of all ... leaderless. In-fighting is norm. I will assume that this season will treat us to how the Rebellion tries to overcome these obstacles.

Again, I love this series. Next week's 3-episode airing cannot come fast enough.

The Empire has always loomed large over the "Star Wars" galaxy - a monolithic force of control, fear, and ironclad authority. From the first moments we encountered them, we were told about their cruelty, their chokehold over worlds, and the suffocating weight of their dominance. But it wasn't until "Andor" that we truly began to see what that meant. This series hasn't just expanded on the myth of Imperial power; it's redefined it, presenting a more insidious, grounded version of tyranno - one that is more dangerous precisely because of how real it feels. Through cold boardrooms, morally grey alliances, and devastating civilian consequences, "Andor" has become a story as much about the dangers of unchecked power and authoritarianism as it is about the spaceships and shootouts that made the galaxy far, far away so iconic. Season 3, Episode 3, titled "Harvest," continues to prove just how essential this series is - not only to "Star Wars" lore but to the very idea of storytelling in a political landscape. This episode further intensifies the show's commitment to portraying the Empire not just as a villain, but as a system - a brutal, calculated machine that preys on the innocent, the desperate, and even those within its own ranks. We witness the unraveling impact of Imperial control on lives scattered across the stars, and how even the agents of that control - like Dedra Meero and Syril Karn - are caught in a twisted dance of ambition, humiliation, and compliance.

What makes "Harvest" so compelling is its story and themes. Tony Gilroy's script keeps pushing the narrative forward by exploring the emotional and physical cost of rebellion, oppression, and survival. Whether it's through Cassian's desperate efforts to protect those he loves or Luthen's cold-blooded pragmatism in silencing potential threats, the episode reminds us that in a galaxy ruled by fear, trust becomes its own battleground. Innocent systems like Mina-Rau continue to be crushed beneath the Empire's boot, and even as resistance grows, the desperation among civilians becomes palpable - not just from the cruelty of their oppressors, but from the actions of those who claim to fight for them.

The tone and tension remain razor sharp. The cruelty of the Empire isn't just discussed - it's felt. It pulses through a dinner scene that's as emotionally claustrophobic as any battle, and it erupts in moments of violence that are sudden, visceral, and horrifying. The political pressure is as fierce as ever, with secret deals and hard choices surrounding Mon Mothma and Luthen, while on the front lines, lives are being torn apart. The tension here isn't just in whether the good guys win - it's in wondering if there's even such a thing anymore.

The character development is masterful. Bix Caleen, already one of the show's most tragic figures, faces a moment that deepens her trauma and reminds us just how much she has suffered. Adria Arjona continues to deliver a quietly devastating performance, and her pain feels earned. Mon Mothma, brilliantly portrayed by Genevieve O'Reilly, balances sorrow and diplomacy as the cost of her rebellion grows heavier. Meanwhile, Dedra and Syril's dynamic continues to twist into something uniquely uncomfortable, with their dinner sequence offering an intimate look at the emotional manipulation at play - not just between them, but from Syril's mother, Eedy, whose presence remains disturbingly effective. Each of these characters feels like they're evolving because of their circumstances, not in spite of them.

Visually, "Harvest" is stunning. Director Ariel Kleiman brings an elegance to the chaos. The show's minimal use of the Volume continues to pay off, grounding scenes in tactile, physical environments that feel real. The editing is sharp, especially during the euphoric Chandrilan dance sequence, which is hauntingly intercut with the violence and collapse happening elsewhere. It's a stark contrast that elevates the entire episode, emphasizing how disconnected privilege can be from pain, and how celebration can occur alongside atrocity - if only you look away long enough.

"Andor" remains a triumph. With "Harvest," the series digs even deeper into what rebellion really means - and what it costs. It's complex, gripping, and unflinchingly honest. If "Star Wars" is about hope, "Andor" is about the price you pay to keep it alive.

No spoilers just an initial reaction. Man this episode left me riveted. The topics they tackle in this episode are insanely mature and they handle them very well. I was absolutely not ready for how dark this would get.

As for the show itself, it's still great. People probably won't love Cassians plot in the first two episodes but i enjoyed it because I think I see what they were trying to do with it. I think that plot is supposed to be a microcosm of the rebellion and how there's no trust and everything's chaotic and it'll be a contrast to the end of the season once the rebellion truly unites.

I loved everything else. Krennic, mon mothma, luthen, bix. The ending of the last one almost got me ngl. Overall this was a phenomenal start and I don't use that word lightly.

I find it ironic how a movie and a show without any of the core story line and characters is the best thing we have had in Star Wars since the original trilogies. This show is just great! The casting and the acting, the cinematography the visuals. It all feels great and feels important. I was a little hesitant on episode 2 because i felt the pace was a bit slow but once episode 3 startet i understood. It almost has a little bit of GoT vibes. I just really hope they dont botch this like they have done with everything else. If they need two years between every season to keep this going like it is then so be it!

PLEASE DISNEY DONT MESS THIS UP!

How blessed we are to have something like Andor. It is the only great thing (maybe even the only truly good thing) to come out of the post-Disney Star Wars era, it's the best that Star Wars has been since the franchise first began, and perhaps most impressively, it is the only piece of Star Wars media I could recommend even to people who don't much like Star Wars.

The reasons for this are several: It is mature in a way that the other films and shows aren't, it goes to different corners of George Lucas' galaxy that don't involve (or demand the viewer's knowledge of) the same old characters and concepts, and it aims to first and foremost tell a good, complex, resonant story of revolution instead of getting bogged down in precisely that -- call-backs to characters and places you already know and whose mere mention you're supposed to soy out over.

The characters act and speak like fully fledged human beings, things move with heft and weight, its political messaging goes beyond modish buzzwords, and the Galactic Empire feels like a threat in a way you'll never see in other Disney-Star Wars media -- where Din Djarin or Boba Fett or whoever dispose of Stormtroopers like they're mere video game enemies. Andor understands "quality over quantity" better than the Sequel Trilogy ever could; it doesn't just throw 100 superlaser-equipped Star Destroyers (that then get easily destroyed because "they don't know which way is up") at us. Last season, one single TIE Fighter (the ship that exists in a swarm of disposable "mooks" during most of the franchise's space battles) was presented with all the terror of the WW2 bomber that inspired their sound design. In Season 2, we get scenes that demonstrate how fascists make their ideas more palatable to those on the fence; these aren't simply mustache-twirling villains, which would be the easy way of doing it.

Certain fanboys are, of course, testy about all this: from complaints that it "doesn't feel like Star Wars" -- even though my father, a fan since the 70s, argues that the fact that it treats us to new sights makes it "feel" the way witnessing Star Wars felt at the very beginning -- to complaints that the franchise that gave us The Slave Bikini "suddenly" regards sexual abuse. They also think it's boring and that nobody cares about Cassian Andor, which may be the same mentality for why Disney execs let Tony Gilroy cook, meddling-free, vs if he'd used more marketable characters and stories.

You'll get your keys plenty jangled some other time, guys. Let the adults have something.