If You Hear A Voice Telling You To Get Back Into Star Wars, That's The Devil Talking

Asajj Ventress has been a slave, a Jedi, a Sith, a Nightsister, a bounty hunter, a fugitive, and an airport security guard too apparently

luke hull, the production designer of andor, says it is a very visually light show, and he’s not wrong, but it is deeply interesting to me how the brightest and lightest part of andor is the empire.  in most other star warses, the empire is depicted as, well, dark; it’s vader’s looming shadow, the grimly lit death star. the empire is a creature of malice and hatred, a Bad force led by the shadowy darkness of palpatine - the empire reflects its morals and character. this is an effective way of queuing in to an audience primed by a lifetime of light versus dark good versus bad metaphors the situation at hand; in anh the tantive is visually very white, vader brings a darkness (literally) in with him. the light in star wars is the rebellion - leia’s pure white dress, mon’s r1 and rotj garb, luke’s white outfit. they are the hope, and so they are the lightest points of the movie. the rebel hq is white, blindingly so - look, you get my point.  in andor, however, this is flipped. luthen’s fondor is often shadowy and greyish, mon gives her speech disavowing the empire a primarily grey colourscape, the radio tower to luthen on ferrix is dark, the backroom of the gallery is dark, but the empire is a blindingly sterile white again and again and again. narkina-5, the isb building, dedra’s flat. it’s a very deliberate brightness, one that contrasts with the more naturalistic lighting at play in rebel-led scenes and places; the imperial need for control is so desperate because it is so unnatural. the empire has to continually signal its presence, has to continually signal what it claims to offer; Light, Order, Reason. it’s an inescapable brightness, a pervasive presence. you can retreat into the shadows but not the light.  and at the same time, that pretence is so deeply hollow! there’s a clinical aspect to the light of the empire, a constant oppressive artifice to it; it smothers mon in the embassy, isb uniforms and stormtrooper armour has to be perfectly smooth and pressed, in contrast to the aforementioned rebels. dedra’s torture of bix strips the bright and clinical facade away, revealing the empire not as a medical organisation, treating the illnesses of the galaxy, but as a cruel creature, fed by and greedy for the desire for power and control and harm that those that make it up embody. dedra and the false light of the empire are symbionts; in the light she must be composed (as the empire demands of its subjects), it is only in the dark that she can be vulnerable. the light is more intuitive than the dark, but that is the exact framing that andor’s empire relies upon. it is easier to comply than to resist, but that light is false and cold and will burn you in time.

bixy!!!!!! 😭😭😭

horror spin-off when?

Tales of the Underworld is almost hereeee

May the 6th but I still draw him.

EVERYDAY quality time with Plo <3

I know a place where no one's lost I know a place where no one cries Crying at all is not allowed Not in my castle on a cloud

I love how s2 of Andor shows us how all the sacrifices the Imperial characters make for the Empire are ultimately worthless. Syril, Dedra, and Partagaz all have different variations on the same ending. and to them Krennic is the big bad guy who represents the Empire but then in Rogue One we learn that essentially he’s in the same situation: giving everything to the Empire and it amounting to nothing in the end.

every time a new Star War movie or show is announced all the fans are like “OMG Glup Shitto is back 😭😭😭”

could this mean that I'm coming home

summary: Luke Skywalker’s relationships with other Jedi as he builds his new order and academy.

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It takes some time for the festivities on Endor and in the wider galaxy to fizzle down, and even longer still for anything to even slightly settle long enough for both of them to rest. There’s always some new problem arising, some new political drama or skirmish with remnants who don’t take the Emperor’s death well or don’t believe in it at all. But Luke and Leia have always been good at adapting and they always manage to squeeze time to talk to each other, whether it’s in the corner of a peace gala or in a dropship headed to the frontlines. 

For those first few weeks, their conversations always seem to circle back around to the fact that they’re twins, and what this means for them both.  In some ways, there’s not a lot to discuss; their bond goes deeper than blood or friendship, it runs through the songs of the Force, stronger than anything Luke has ever felt.  One night, they spend hours comparing and trying to work out what was coincidence and what were actually latent Force abilities. They talk about childhood dreams of each other’s planets and how — despite both losing all they had once called home only hours before and the imminent threat — everything just felt right when they reunited on the Death Star. Like a small part of them had been missing until then, tied by invisible string to something very far away. 

Outside of it connecting her to new twin, Leia does not seem interested in the Force. She listens intently when he tells her what he knows of the Force, but Leia has never wanted to be a Jedi. She is a politician, like the mother and father who raised her were. She spends her busy days on Coruscant and Chandrila and wherever else she’s required to go to build the fractured Republic her parents tried to save. She finds as much time as she can for him , but she finds time inside of that only to learn the basics of Jedi training, nothing more.  

Luke understands. It’s alright. He’s sure more Jedi will resurface soon, now the Empire has been defeated. It’s just a matter of time...

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