What’s wrong with the series Andor from Disney+? The play debuted to large specialized reviews and moderate success with audiences. But little by little the disinterest of the audience in the story has become a phenomenon worthy of analysis. As one of the productions that generated the most anticipation before its premiere, it now goes unnoticed among the content on the platform.
The answer may lie in the very concept of the series. According to one of its screenwriters, Tony Gilroy, rolling stone, Andor it was filmed like a movie. In fact, actor Diego Luna admitted that the production “sometimes felt” like a very long film. The story unfolds at a cinematic pace, almost forcibly adapted to suit the set of chapters.
Particularly because for Gilroy, a veteran of action dramas and thrillers, the methodical creation of atmosphere is an important element of storytelling. Something notorious about the new production of Star Wars. The plot focuses on Cassian Andor and his backstory, but adds little to the subplots and alternate storylines. What turned the newly released production into a peculiar, and sometimes unfortunate combination of tones and rhythms.
The first three episodes – short and three-dimensional with a central character – were released simultaneously. In particular, because only together do they make sense in all their emotional depth and narrative density. But as soon as the episodes Andor got on the platform separately, problems with the room began to become more obvious.
Which again shows that the differences between media such as television or streaming and cinema is usually a problem. Especially for filmmakers trying to adapt one style to another with multiple tools.
Disney+ Alarming Bug
FROM AndorDisney has once again demonstrated its inability to understand the difference between such different media as film and television. streaming. Except that the world of the series crosses a certain area. The serial format is not an excuse to lengthen the story, but to make it deeper.
Each chapter works as a separate fact that contributes information to the central story. On the other hand, the characters (not just the main character) have their own history, which the series allows to deepen. Something that subscription services took to the next level.
In addition to restrictions on the topic and length of the telegram, they allow for more experimentation with arguments and points of view. which gives writers the ability to create stories at a completely different pace, which benefits complex plots. Without resorting to conflict right away, a series can explore different scenarios and be of considerable interest.
Andordrifting story
Andor it breaks the structure of the series by trying to tell a story that depends on how deeply all of its chapters are understood. Episodes are not separate events and do not operate independently of each other. So the story feels too long, repetitive, or just boring.
His inability to connect with the audience is not due to his mature tone or more sober tone than other Star Wars productions.. In fact, he makes the mistake of forgetting that the series must, chapter by chapter, use the facets of its argument. Reach a climax or, at best, evoke a formal and concrete look at a particular plot twist. Something that Andor not only does not, but also neglects to show the rapid development of his plot.
Written like a movie Andor it is simply the total experience in its entirety. The first three episodes make up a short story that does not expand its narrative anywhere, but rather shows the same plot dilemma. Not from different angles: Cassian Andor goes through a series of challenges and dilemmas to get to many more. Secondaries appear and disappear without further explanation. Scenarios are displayed and then disappear without any consequences.
Actually, one of the most common complaints about production is its unevenness. With some brilliant and well-constructed chapters, the series loses momentum in others where the script languishes without much action. The result is a series that can not withstand either the audience’s interest, or even its own internal tension.
In the midst of an uncomfortable look at the mixing of genres
Yes Andor telling his story like a movie, he likely cut dozens of filler scenes written to satisfy the chapter’s formal requirements. A mistake that catches the eye in the fifth chapter, in which almost nothing significant happens, and in the sixth chapter, a brilliant tension.
The difference between them is that they have different purposes. One turns out to be a link to the first four episodes. The next one opens the action for what happens next. Can the series really try to maintain the film’s structure? It could be, if it didn’t affect its main goal of telling the story in detail.
Despite all its merits, Andor could it be a failure? The series is likely to be a failed experiment rather than a disappointment to viewers. Its best moments remain strong, as does the step forward – mature and brilliant – that the series has brought to the franchise.
But even so, it shows that Disney still doesn’t fully understand its series of great licenses and pop mythologies. With all the disappointment around She-Hulk: Lawyer She-Hulk and a little interest that aroused mrs marvel, the study has problems to solve. Some of them are so serious that they can jeopardize your ambitious online plan for the future.
