0:08

Let

0:08

us return once more to a more civilized

0:11

age a Star Wars podcast. I'm Rob Zachary

0:13

and joined by Allianz from Pura, Austin

0:15

Walker, and Natalie Watson. We are

0:17

continuing with our weekly leverage of Andor

0:19

before we resume our analysis of the Clone

0:21

Wars at some point, supported

0:24

as always by our listeners at patreon

0:26

dot com slash civil law. go

0:29

there. Sign up, especially if you want access

0:31

to our increasingly unhinged q

0:33

and a's. Oh, yeah. I already I sent I

0:36

literally send Ali a q and a question

0:38

from someone else. fifty two did not. I

0:40

I saw someone in the wild on a discord

0:42

I'm on, say ask discord a question.

0:44

I was like, can I can I steal that for AMCA? And

0:46

they said, yes. So I immediately sent it to Ally.

0:48

So we're loading up with Bangers for this next

0:50

q and a. Also, I just wanna say,

0:53

two things really quick. One is

0:55

I'm really proud of the season that we're of the

0:57

show that we're making. Andor

0:59

has obviously given us a great deal of material

1:02

to work with. but

1:04

I'm very happy with what we've been doing here.

1:06

If you've been happy with it, go give

1:08

us a couple bucks on Patreon. Patreon dot com

1:10

slash civilized. If

1:12

I I find that it feels

1:14

like we sharpened a blade over two years,

1:16

and then we found the exact perfect

1:19

thing to use it against, which was Andor.

1:22

The other half of this is, oh my god,

1:24

the outpouring of people saying we were doing

1:26

a good job. I would not have said the first thing

1:28

I just said without out pouring because I

1:30

would not have had the confidence that we were doing a

1:32

good job without receiving so

1:35

many kind words about the show from so many

1:37

corners of the world. like,

1:40

obviously, there are some real ones who've been here from

1:42

the jump. I don't wanna under sell

1:44

that and, like, under, you know, appreciate

1:46

y'all. As you jibo, Shows

1:48

no yet. Tahito. Tahito. Yeah. So

1:50

if you're here for Jibo and Tahito and for Numo

1:52

Mindy, if you were here for the

1:55

Younglings arc, If you were here for those

1:57

dot for whatever in the

1:59

void I learned with these squad. Raghib

2:02

yoga. Yes. Yeah. If you're here for attack of

2:04

the clones, Have you suffered through that?

2:06

Which by the way, if you joined us just for Andor,

2:08

it's a clone wars podcast. We opened by going

2:10

to the prequels and like digging digging

2:12

in with the prequels. So

2:15

you should go listen to those. But

2:17

there has just been a real outpouring over the last

2:19

week or two as as the show has

2:21

continued to pick up pace and continue to outdo

2:24

itself. I

2:26

know we got chatted out over on

2:28

on the ringer. I know that,

2:30

you know, we've gotten letters from people. And

2:32

and it's just been it's just been very, very heartening

2:35

and heartwarming. thank you so much for

2:37

all the support. Thank you for recommending

2:39

us to your friends. Yeah. Seriously,

2:41

thank you for recommending us to your friends. Really

2:44

cool. That we don't you know, we don't

2:46

have we truly are all working

2:48

a lot in our regular lives, and so

2:50

we have others we have not done a ton of promotion

2:52

for the show. Y'all have been the promotion

2:54

for the show. outside review like

2:56

clips we've put on Twitter. So

2:59

thank you so much for for helping to promote us.

3:01

And we were putting a lot of hard work into this

3:03

and and it means a lot that that's been

3:05

appreciated. So, like, literally, I think

3:07

I got, like, twelve d m's,

3:09

you know, within hours of the last episode

3:11

going up even though I had even

3:13

though had to use a backup to be like, hey,

3:16

the production gags you're doing are are very

3:18

fun. Hey, this conversation reminded me of

3:20

this interesting thing I saw, here's some more

3:22

info on that. like tons of people super

3:24

engaged with the show, it means a lot. So thank

3:26

you. So

3:29

also

3:29

if guess what we're about to talk about another banger,

3:32

Yeah. Yes. Get it together. Hello.

3:35

Hello. Hello.

3:41

he is getting dressed.

3:43

Hey. Sorry, Cheryl. Car's

3:46

full. You can catch the next episode.

3:49

coming. Can I admit coming to you right now.

3:51

Please. I didn't I I

3:53

didn't. Did you not even notice? I

3:54

didn't even think about it until the very end

3:56

of the episode. I was like, where

3:59

where

4:00

where I

4:01

he wasn't there. He

4:03

wasn't in it. He wasn't there.

4:05

I was so kind of pills.

4:07

I'd really send a message today to somebody

4:10

where I said, get ready for a

4:12

Wild S episode. It

4:14

was so good. I think even though Karen

4:16

wasn't in it, Natalie is going to have shit and

4:18

piss herself. Yeah. I did. I

4:20

did shit and piss. I did.

4:23

Yeah. Unbelievable. And that's

4:25

the scale we use here. Oh,

4:27

yeah. That's the that's the reviews scale. That's

4:29

If if your friends have told you, go to a more civilized

4:31

age. They they they bring out the theory. They

4:33

bring out big picture conversations

4:36

around cinematic history and political

4:38

theory. Sometimes you gotta talk

4:40

about shit in pissing. Sometimes it's just so

4:42

good that you get a message that says,

4:44

I am shitting in pissing. This is the only way he

4:46

wants him here. So

4:48

in the broad outlines, this is the prison

4:50

break episode. We pick up

4:52

right at the time of Olaf's death.

4:55

Keno is still uncommitted. The first the first

4:57

few minutes of this episode is really all about

4:59

getting him and the whole

5:01

crew in unit five

5:03

two committed to the plan. And

5:05

then most of the rest of the episode is

5:07

the execution of that plan. And that ends

5:09

with Andor and Melchi running

5:11

free on a strange shore, having taken

5:14

over and then busted out of the facility

5:16

on Martinez. Before the breakout

5:19

begins, we do get But

5:21

Mavin meeting with Diego

5:23

Skolden as she contemplates just

5:25

how much she is willing to be compromised

5:27

and More importantly, how much she's willing willing

5:29

to let her family be put at risk

5:31

in some way, by this bargain

5:33

she needs to strike. We also see Cinta

5:36

sizing up the imperial surveillance on

5:39

Marva on on the planet pharex.

5:42

By the way, the Imperial Surveillance could

5:44

do a better job blending in. It's

5:46

amazing how they how

5:48

they're trying to to to

5:50

fit that. I didn't believe Speaking

5:52

of blending in, yeah.

5:54

So most consequentially, we see the ISB

5:57

setting their trap for Krieger's powerhouse

5:59

raid. And

6:02

The last portion of the episode gives

6:04

us a surprise as we learned that one of the

6:06

ISB agents, the the

6:10

thin, red headed guy with the mustache.

6:12

I knew him. I felt is a he is

6:14

a double and he has sent signs

6:16

for an emergency meeting with Louthan. He

6:18

thinks he is warning Louthan and also

6:20

tendering his resignation from the rebellion.

6:23

But maybe the in an episode like

6:25

this, this is saying something. I think

6:27

this might be the most spellbinding, like,

6:30

five, ten minutes of the show to date.

6:32

And across that scene, Louthan

6:35

sets him and us straight

6:37

on who Louthan is and what he is capable

6:39

of doing and demanding. We

6:41

took a vow. You know? We

6:43

take a vow. I need to hear this

6:45

vow. I agree. I need to

6:47

hear what this fuck you about it. Me

6:50

too. I don't wanna see it.

6:52

So can't say

6:52

it again. I vow to the force. I

6:54

know it. I

6:55

know it. I know it. I know

6:58

it. This is I can't believe

7:00

how jedi killed. I am

7:02

before this and in a way where I don't

7:04

hate it. because I I still kind

7:06

of hope I I'm still kind of truly my heart

7:08

of hearts hope he's not a Jedi. He's no Jedi connection.

7:10

It's way it's way better if he

7:12

doesn't. But also, that motherfucker

7:14

talks like a Jedi. he's

7:18

only talking to but, like, we're all kinda talking to

7:20

ghosts in some ways. You know what I mean? You know I

7:22

mean? That was that was so many dead

7:24

horse. It's it's happening. Alright.

7:28

So Where do we let's jump. Let's jump

7:30

in. Yeah. Let's so I

7:32

mean, actually, really quick, literally before anyone

7:35

is on screen. Very interesting to to

7:37

hear. Last episode, two episodes

7:39

ago now. Natalie pointed out the audio,

7:41

the the intro music changing, and

7:43

the the increase in this arc to this kind

7:45

of distorted cynthia stuff that started

7:47

with the start of the Joaquinah arc. The

7:49

synths and the distortion are not in the intro.

7:51

Right? That stuff has been pulled out.

7:53

We're back to a

7:55

different style of, like, regular, you know,

7:57

or orchestration, and the build is

7:59

just instant. Right? We are building musically

8:02

throughout this entire episode. the

8:04

rhythm is is pounding. Whenever we're

8:06

in Joaquinah, it's

8:08

great. Until we go to dead silence -- Right. --

8:10

and then Which is, yeah, the use of

8:12

the use of no, like,

8:15

score is really pointed

8:17

for effect here as well. So actually,

8:19

the quitting side then, because I I love

8:21

to handle the looting stuff and the

8:23

prison break stuff in in big blocks.

8:25

I'll just go to Sinto real quick here --

8:27

Sure. -- as a place to start. the

8:29

fact that the Imperial Surveillance team,

8:31

they're unleashing their best, their most advanced

8:33

tools, the ISB is getting pretty

8:35

crafty. They put

8:37

cops in, like, garbage

8:40

clothes. And they're like, that's what

8:42

that's what -- Please. -- wearing a

8:44

slippage blower head.

8:46

This

8:46

feels wearing a first order hatches

8:48

with a different colorway on it, with the casual

8:50

colorway. Like, what are

8:52

you saying, bro? You're not even

8:54

hiding. Y'all

8:55

remember that video where it's this guy going

8:58

around being like, I can tell you I can point to

9:00

you another cover cop in the yard.

9:02

Yes. Yes. Yeah. He's kept

9:04

on. It's that. It's a hundred percent

9:06

that. A hundred

9:07

percent. Would the all black fucking

9:09

orthopedics

9:10

Yep. Yep. I Yep. Yep. Yep.

9:14

Yeah. I think the wristband of

9:16

the day on. Like, I I feel like the

9:18

surveillance in that is in no danger of

9:20

catching Santa.

9:21

So Yeah.

9:24

She seems

9:25

she seems to be she seems to be holding

9:27

her own. It it's the whole

9:29

conversation I mean, you

9:31

really see the whole community rallying

9:33

around Marva, like everyone

9:36

is invested, is involved.

9:38

There's people waiting outside

9:40

her place. There's people there's

9:42

a doctor approaching with with other community

9:44

member I

9:45

love that that little group of

9:47

of all of them in there in there just

9:50

like regularized clothes or big

9:52

scarves and jackets. It's just so good

9:54

good. That's great. Well, it also implies, like,

9:56

with with Bix being out of the picture,

9:58

like, the can you like, okay. Now nobody

10:00

has Marva, so everyone's got Marva.

10:02

that's what's changed. It's like, you know, with one of his

10:04

Bix and

10:08

Braco. Braco. Braco. They

10:10

they felt like it it sort of felt like it was

10:12

all on them, that it was on them to, like,

10:14

take care of Marva. And it feels like maybe

10:16

in the absence of,

10:19

like, what was kind of her extended

10:21

family like the whole community's kind of

10:23

getting on on board with this? Which is

10:25

actually kind of an interesting extension of some of the

10:27

accelerationism stuff that we talked about

10:29

in in Louthan's broader theory

10:31

about what happens when the grip, you

10:33

know, becomes too tight. because in practice,

10:36

what's happening is the

10:38

grip broke the the

10:40

safety valves. Right? Bix is

10:42

gone with Bix gone that

10:44

means Marva needs support from

10:46

the and Marva can't Marva is

10:48

also apparently sick enough that

10:50

she can't deny the support at this

10:52

point. But it's part of Yeah. She's crying a

10:54

lot, but just to be right. clear. She's like, the the

10:56

issue -- She only needs to cruise. -- to cruise. Or take

10:59

the she only needs to put her off. they

11:01

pay her off her food. Right? That she'd she'd ruins the

11:03

taste. But but my point

11:05

being, if the theory is

11:08

The theory isn't or the thing that we're seeing

11:10

in practice isn't when the

11:12

safety valves break everything goes to

11:14

chaos. It's when the safety valves

11:16

break community rushes in. people

11:18

become increasingly the solidarity

11:20

kicks up when the safety valves

11:22

break. When manage when

11:24

We'll talk about this in a moment. You know, when

11:26

you lose that mid level management, it's not

11:28

that you lose control of the floor. It's that they

11:31

start collaborating. Right? I mean, in some

11:33

ways, that's a much more optimistic take

11:35

on what stories like this

11:37

often say, which is the

11:40

empire squeezes so tight that they lose

11:42

control and everything goes to hell. Everything this

11:44

is the it's it contrasts with

11:47

the Mandalorian speech

11:49

that we reference all the fucking time.

11:51

He's sitting.

11:52

it is a shame that

11:55

your

11:55

people suffer so just

11:58

is in this situation.

11:59

It was all avoidable.

12:03

why did Mandalore resist

12:05

our expansion? The

12:08

empire

12:09

improves every system it

12:11

touches judge by any

12:13

metric. Safety,

12:15

prosperity, trade

12:17

opportunity, peace. compare

12:20

imperial rule to what

12:22

is happening now.

12:27

look outside, it's

12:30

a world more peaceful since

12:33

a revolution. I

12:35

see nothing but

12:37

death and

12:39

chaos. I would

12:42

like to see the baby. that

12:45

what the empire does is create stability, the

12:48

absence of it is is chaos. This is saying,

12:50

well, actually, on the absence of of

12:52

the squeeze, is doctors

12:54

actually come in Russian to save the day

12:56

or or the community actually seems

12:58

like it tries to gel at least.

13:00

We'll see where it goes. Well, The other thing would

13:02

say is if we're talking about the

13:04

necessary preconditions for revolution -- Mhmm.

13:06

-- like one of the funny things

13:08

is on Adani, the

13:10

Imperial program is to shatter Adani

13:12

identity and culture. On Farex,

13:14

that whatever that process is is long

13:16

completed. Right.

13:18

But they have created

13:20

a different culture that

13:22

has a strong central identity around

13:25

the community and the work that

13:27

they do. that, like, the work

13:29

of alienating workers

13:31

from one another has come undone

13:33

in some ways here just

13:35

just from the way that things are constructed

13:38

-- Mhmm. -- on Farex.

13:40

And so this is, like, this kind

13:42

of feels like an interesting misfire

13:46

of the program is that as this

13:48

place has become kind of a

13:50

dumping ground for the detritus of

13:52

the this modernity that the Republic and

13:54

the Empire of Bill, they have created

13:57

effectively the type of, like,

13:59

mining towns or steel towns

14:01

that, you know, a hundred

14:03

years ago, those those folks families

14:05

roll up in the hills, you

14:07

know, like like doing craft

14:09

industry or hunting or like

14:11

local trade. And now,

14:12

you know, they're this they're

14:15

this close to, like, taking

14:17

it taken to a picket line or

14:19

-- Right. -- or attacking company.

14:21

Mhmm. Do

14:23

we also just wanna hit the Monmouth

14:26

stuff before we get to the two big bites?

14:28

Yeah. The So she is Yeah.

14:30

So she's meeting with Davo or

14:33

Davo Davo? I don't remember from

14:35

your first name, brother. Is it Davo? Davo

14:37

Skolden and funny. By the way, here's the thing

14:39

though. There's an art to bullshit

14:41

Star Wars names and they're nailing

14:43

it here. A name

14:45

that, like, you know, evokes

14:47

Dave Davos, the, like,

14:49

the the the big, like, money power

14:51

broker, like, the

14:53

the town of all the money and the power brokers

14:56

in the world meet us --

14:58

Right. -- golden, skullduggery --

15:00

Mhmm. -- you know, also looking

15:03

davo. motherfucker named Daveo.

15:05

Right? Oh. And then that's Star Wars. It

15:07

had it's like both just on the nose

15:09

enough. Is Daveo?

15:12

Yeah. Uh-huh. It's Dave. Literally,

15:14

Dave. It's Dave. Oh, yeah.

15:16

Uh-huh. Yep. It's both of those things. It's

15:18

both yeah. It's it's I

15:21

love it. This

15:24

is a deliciously uncomfortable

15:27

meeting. I think if I think

15:29

I'm tagging myself from this picture.

15:31

I think I'm Tae. Yeah.

15:33

Actually, who can feel how, like,

15:35

from the jump, how far off

15:37

course this is going. There's the

15:39

weird defensive note

15:41

as Skalden

15:43

sort of immediately sizes up the or

15:45

old world elegance that he's in, and

15:47

she says, well, I didn't decorate

15:49

this place to stay property. I'm not allowed

15:51

to do anything with it, which I'm not

15:53

it it feels pretty reflective of

15:55

of her in some ways, but

15:59

we get the

15:59

we get really

16:01

tense small talk that gets to

16:03

this exquisite

16:05

line that raises so many questions.

16:08

as

16:08

he asks after her husband

16:11

and

16:11

she closes that door, she slams

16:13

it shut, he says many

16:16

cultures don't appreciate the clarity of

16:18

a one marriage. Even our own people are

16:20

confused at times. Boundaries

16:22

can be liberating. The old ways

16:24

have value.

16:25

This is such a curious

16:28

line to me because he's he's

16:30

he's responding immediately

16:32

to the fact that parent is to

16:34

be kept out of the know of

16:36

-- Right. -- this, you

16:38

know, meeting of of

16:40

what's to cut how you

16:42

know, Mon mothma was going to be dealing with

16:44

her money,

16:45

etcetera. And

16:46

the fact that his response to that

16:48

was this

16:49

is

16:50

the the the point

16:53

of

16:53

a chandrilled marriage. This is

16:55

the value of specifically

16:57

a chandrilled marriage. has

16:59

been asking so many

17:01

questions that the bank accounts,

17:03

you know, you keep the door like, that's

17:05

screenups that, like, that's in

17:08

the culture is, like, we are

17:10

not fucking with each other's

17:12

accounts. Like, we have separate

17:15

I

17:15

I I'm just so curious if that's just,

17:17

like, a financial aspect. If it's

17:19

if it and there And so I mean, there

17:21

has to be like, interpersonal

17:23

-- Yes. --

17:24

echoes of that in

17:26

in -- Which is

17:27

how they engage with each other and what they

17:29

led on with each other. and

17:31

a room

17:31

for for discretionary activities

17:35

or

17:37

the expectation thereof, right,

17:39

I think is is being

17:42

suggested, you know, there's an

17:44

interview. I don't know if this was a Rolling Stone or

17:46

what with with Tony Gilroy, where

17:48

someone asked him straight up,

17:50

like, what did Disney tell you you're not

17:52

allowed to do? And he said basically nothing

17:54

narratively, but, you know, we

17:56

can't we can't curse. We

17:59

can't show as much sex as we would like to. You know?

18:01

And it's like, I bet we would have gotten.

18:03

There's some stuff I bet we would

18:05

have gotten or about TAY and and

18:08

I'm on mothma. Not

18:11

ten. I I meant I meant parrot,

18:13

but also maybe maybe with

18:15

day. around what

18:17

that relationship is and who's

18:19

seeing what? because you can actually do a

18:21

lot. They've done some. Right? We've

18:23

seen parent as the parties talking

18:26

up various ladies. And we're like,

18:28

oh, are they signaling that he's, like, stepping out?

18:30

Like, what or is he just Oh, one week. Or it

18:32

it's actually just been him working the room. which

18:34

totally Right. So I'm like, where

18:36

is the line there? What's happening? The

18:38

other thing about that line that you just put

18:40

out, Natalie, the the I

18:42

guess, Rob, you mentioned it, but now you focus on the old ways to have

18:44

value. He he opens his whole conversation by

18:46

saying it's a bit old, isn't it? Like you

18:48

said, Rob, I like new. And

18:51

it's like he likes new as in

18:53

shiny satin blue robes

18:55

compared to their much more monochrome beige

18:57

as their their neutrals.

18:59

But but he also consistently

19:01

comes back to the old ways to have value. And

19:05

that working out, what is it that you like

19:07

that's new? What is it that you like that's

19:09

old? Well, do you really like anything, or

19:11

do you just like what you like? Do you even you

19:13

have a schema, you know? He

19:15

he he he ascribes

19:19

quote, the

19:19

freedom from other people's opinions as

19:21

to being a part of this newness

19:24

-- Mhmm. -- which

19:26

is like It's very

19:29

yeah. It it's hard to to

19:31

gauge whether he's just ebbing and flowing

19:34

between tradition and

19:36

newness according to what kind of fits

19:38

his Their

19:40

tools. Right? Right. Exactly.

19:43

I

19:43

also feel he's cold reading her a bit though. You're

19:45

right. He throws all these darts at

19:47

the opening. I like the new. He sees how this

19:49

goes over and then feels

19:52

out like what are the sensitivities

19:54

around family, fills out those band boundaries,

19:56

and then falls back on this,

19:58

you know, general and tradition. I respect that.

20:00

Like, I can I can get with that.

20:03

Also, I do love just the implication that,

20:05

you know,

20:08

this is not a subtle question in in

20:10

general you know, there's this

20:12

implication that, like, hey, young people may not wanna

20:14

do it this way anymore. These these

20:16

marriages, and it certainly bears all

20:18

the hallmarks these are not marriages that are

20:20

sustainable outside of an upper class

20:22

where the amount of

20:24

resources, the partners in a relationship

20:26

can command allow them to effectively live

20:28

separate lives. Mhmm. But

20:30

this sort of illusion to the fact that,

20:32

like, this is an ideal that may

20:34

already be falling apart in

20:36

in the culture that it's inherited from.

20:38

But, really, III think he

20:40

is he is feeling her out because I

20:42

was struck by when this time

20:44

to bring the conversation around to

20:47

the actual bargain.

20:49

He pitches it

20:52

as he's aware that he's helping

20:54

finesse some financial

20:56

skull doggery. But

20:58

he also notes that, you know, these financial disclosure

21:02

laws, they're imperial laws. I know there's

21:04

really even laws at all because they're not done

21:06

in conjunction with the Senate. He

21:08

is speaking her language. He he has

21:10

done his homework. Finds it. Yeah. Yeah. And

21:12

so I I was kind of struck. I

21:14

I feel like in the in the opening salvos

21:16

of this conversation, Like, he

21:18

it feels like taking ranging shots, trying to

21:21

figure out, like, where, like, where do we sit in

21:23

relation to each other? What what is the

21:25

message to to to pitch her?

21:29

which sounds very consultatory until we

21:31

we feel the the the the the

21:33

jaws of the trap begin

21:35

the snapshot in in a moment

21:37

here. Because I'm curious I'm

21:39

curious what you all made of

21:41

the price he asks. When Ma'am is

21:43

horrified by it, but I'm not

21:45

sure if she isn't taking it. I can't figure out if Fareed is correct

21:47

or if she is

21:51

overreacting to

21:53

a request for social currency

21:56

rather than I mean, I think she has him

21:58

dead to rights very early on here

21:59

where he says, oh, I don't want any. I don't

22:02

wanna cut. Right? So the lead into the

22:04

actual pitch is she says, you know,

22:06

well, how much would your fee

22:08

be for moving this money from again,

22:10

the the thing that's happening here is she has

22:12

a lot of money in a family account that

22:14

she can't access without the

22:16

ISB tracking it. He's saying

22:18

we have ways We have packages. You know,

22:21

we can bundle money up in ways that make

22:23

that happen. And she says, well,

22:25

what would you call? What would the cost be

22:27

basically for moving that money from

22:29

my account? that that is trackable into an

22:31

untrackable, untraceable account. And he

22:33

says, oh, I wouldn't have a fee. And she

22:35

immediately recognizes that this is a classic

22:37

maneuver. Right? This is the

22:39

oh, but I know you a favor. Right? And that

22:41

favor is going to be a much higher cost than

22:43

if I just give you ten percent. I'll pay

22:45

you. When we pay you, I don't like owing favors.

22:47

she says, and he then

22:50

unfolds, oh, what I want is to

22:52

come is to visit again

22:54

and to bring my son. My

22:56

son is fourteen. Your daughter is thirteen.

22:58

You can see that both Mon mothma

23:00

and Tei immediately pick up

23:02

on what's happening here. she

23:05

pushes on it and says basically,

23:07

she just says, no out there, out out right

23:09

away. And he's, well, listen. I'm just talking

23:11

about an introductory It's not talking about a betrosal here.

23:14

And from there, it she

23:16

closes up because she does not

23:19

you're this is the thing you're saying. Do we think that

23:21

she's right? That he is, of course, asking about

23:23

a betrothel even if he says he

23:26

isn't? And

23:28

I think he is. He's

23:29

a hundred percent. A hundred

23:32

percent.

23:32

He he

23:34

he's saying he's he's just not

23:36

saying it, but he's saying it. Like, he

23:39

knows that to say it would be to be,

23:41

like, completely gosh and

23:43

that, like, he he he's hiding

23:45

behind all of the sort of civility

23:48

and and, you

23:50

know, just,

23:51

you know, manners of,

23:54

you know, sandal and company and society

23:56

and but yeah, he's a

23:59

sharpshooter

23:59

asking for

23:59

ammunition. Like, yeah, you're not

24:02

he's not saying, can I shoot you? But

24:04

he's a sharpshooter and he's going to hit

24:06

his target. he wants the introduction because he can

24:08

then from there manipulate it forward.

24:10

And I don't know. Maybe it falls apart and that

24:12

means that but he can still use the

24:14

introduction as a way into Coruscantee

24:16

you know, a high culture or whatever, high society,

24:18

but No matter what

24:19

Mon mothman does, she

24:22

loses. If if the

24:24

kids meet each other. Because you

24:26

know certainly that if

24:28

Mon mothma goes to her daughter

24:30

and is like, I don't want you talking to

24:32

that boy, like, you you should have nothing to do with him.

24:33

Mhmm. Her daughter,

24:36

first thing, they're going on a day

24:38

to

24:38

the space movies. that weekend.

24:40

Dave was

24:40

like, well, I I you know, I told my son not

24:42

to pursue it after you told me they shouldn't.

24:45

Yeah. And he's broken your heart.

24:47

Like,

24:47

it's just every every aspect of

24:50

this. As soon as they

24:52

meet, it's over from Myanmar. She's she

24:54

loses no matter what. It's

24:55

too easy to

24:57

manipulate. Okay. Well,

24:58

follow-up. Do we think he's right? And

25:01

and, you know, when he says, she

25:04

says, she shuts it down

25:06

immediately. Right? He

25:08

tries to push on and basically

25:10

says sleep on it. And she

25:12

says no. I'm not, no.

25:14

There's there's nothing to think about. I'm not thinking

25:16

about it. And on his way out, he turns back and

25:18

goes, that was the first

25:20

untrue thing you've said.

25:22

Do we agree? No.

25:23

No. He's just because, like,

25:25

it's probably he's just playing at

25:29

planting

25:29

that seed himself.

25:32

I don't think

25:32

on my Do you think okay. So maybe that's the better

25:35

question. Do we think him saying

25:37

that is going to lead to?

25:39

Is this the last time we see Nate was scrolled in? Or does she is

25:41

the next time we see him on Mothma, it's her sitting

25:43

down with Leila being, like, there's

25:45

someone I need you to

25:47

meet. I don't think so. I

25:49

like, because I feel like especially this conversation

25:51

is so in in

25:54

conversation with the Louthan scene

25:56

in terms of, like, what are you willing to sacrifice? What

25:58

is the future that you think that you're going

25:59

to see? And,

26:00

like, mom must have positioned as

26:03

a mother, like, puts her in

26:05

the position of, like, working

26:07

towards something for someone instead

26:09

of being this, like, broad, like, oh,

26:11

I have to do this because

26:14

because the the way that things are going

26:15

can't be going anymore. Right? So

26:17

you can lose She retains this,

26:19

whereas Luton sacrifices this.

26:22

Yeah.

26:22

Exactly. And, like, especially with

26:24

what we saw with her with

26:27

Val, like, I

26:29

I keep thinking like, she's not radical, but, like,

26:32

what her radicalization is.

26:34

Let me listen. If

26:34

she's she's a buddy

26:36

to give miss a walk. He's not banned at the remote.

26:39

Yeah. I Yeah. I got to see the

26:41

cops. Yeah. Yeah. Yeah. She

26:43

plays the centrist really well. Right.

26:45

Yeah. Yeah.

26:45

But, like, just in terms of, like,

26:48

what that moment is

26:50

for her in her head and,

26:52

like, thinking of her as being like,

26:54

taking both of the young women in her life

26:56

and being able to offer them something else

26:59

-- Mhmm. -- seeing Vala's as someone

27:01

who who also needed to escape this society

27:03

and being like, well, let me put you

27:05

in touch with -- Right. -- you know,

27:06

people who are building something.

27:10

Right.

27:10

Well, I am I would imagine that

27:13

I

27:13

don't know. I think

27:15

I think somehow she has

27:18

she she will have to make the

27:20

same

27:20

sacrifices, Louthan. I think -- Yeah. -- it

27:22

has to come from all. Everyone has to

27:24

be making sacrifices order

27:26

for this thing to work. In

27:29

including, you know,

27:31

the the ISB

27:33

Right. Right.

27:34

So I I think what this

27:37

episode is about is is

27:39

what are you what are you

27:41

willing to sacrifice? And I

27:43

think Louthan is is putting his cards

27:45

completely on the table

27:46

is everything, everything, everything,

27:48

everything. And Mon mothma will

27:50

have to decide if that will

27:53

be

27:53

the case for and I think it just

27:54

has to work.

27:57

They're very different shows where

27:59

one show says, I'll give everything

28:01

for this, but I'm not going to give that. We have

28:03

to draw the line somewhere. If we give if

28:05

I would do this, then what was the

28:08

point of the rebellion?

28:09

That's the ISP officers. That's the ISP officers. Right.

28:11

The entire argument is is I

28:13

won't do this thing. Like, oh, I am a

28:15

father now. I can't I won't

28:18

sacrifice her. and that is not an

28:20

option. There there

28:21

are also things. When you have multiple

28:23

characters who are facing down a similar

28:26

dilemma, you can them

28:28

answer it different ways as long as

28:30

you're truthful as a writer about

28:32

the repercussions. Right? So

28:34

for instance, if

28:36

she could

28:37

deny this to to

28:40

Daveo. But remember,

28:42

Daveo knows parent. He says, early

28:44

on, I've met your husband many times.

28:46

he could still squeeze his way into

28:49

this without Mon mothma being the one

28:51

who pulls a certain trigger. Right? There are

28:53

still ways that he can get what he wants or

28:55

make himself a pain in MonTHma's

28:57

side where we

28:59

get from Louthan, the man who's given

29:01

up everything, and we get from

29:03

MonTHma, the person who can't who

29:05

who learns you can't dodge sacrifice

29:08

someone under the current circumstances,

29:10

once you start to play ball, you've already given

29:12

up something. You know what I mean? there are other ways that

29:14

the story can unfold without her also deciding

29:16

what Louthan has decided. I'll note the

29:18

one that has occurred to me that, like, just hasn't

29:20

been floated is they're sitting on

29:23

probably less now, but they stole eighty million credits from

29:25

-- Mhmm. -- from the empire. Like,

29:29

Louthan could probably, like,

29:31

wander some of that into, like, petty cash,

29:33

and it, like, shows back up as a deposit.

29:35

You know, maybe that maybe that

29:37

still raises flags, but it it's

29:40

like, I I do wonder if she's been

29:42

avoiding going to Louthan to bail her out of this

29:44

as well because her

29:47

strategy for building this rebellion is different

29:50

from his. And there's there's a philosophical gap

29:52

that's open between them.

29:54

It hasn't opened up into a rupture, but but

29:56

it is there. And I'm I'm just

29:58

surprised it's not come up as

30:00

a point of discussion -- Mhmm. --

30:03

between them. But I

30:05

know she could also we could also get the end

30:07

of season Jimmy

30:09

Smith's arrival, she could go to bail.

30:12

I'm like, I

30:14

I hate suggesting things like this. I mean, is it

30:16

Star Wars brand? I Star Wars is not

30:18

Star Wars Brained. Do you know what the whale organa fits

30:20

in the like like whale fits in

30:22

the story. That's the problem. He

30:25

does. God, that'd be great. That'd be

30:27

I'll just sell one my cars. Right.

30:30

Right. So Balergana

30:32

has the j lino car

30:35

garage. Yeah. Oh my

30:37

god. It's litigating the garage,

30:37

bro. That's a whole ass rebellion right

30:40

there. So

30:41

so

30:43

The

30:44

the other thing is so I

30:46

I think really we're just really quick because

30:49

we move past it pretty quick.

30:51

Again,

30:54

Disney plus

30:56

Star

30:56

Wars and or this is

30:58

a story about selling off your thirteen

31:00

year old daughter to a crime lord.

31:02

Yeah. I just wanna be clear on what we're

31:05

talking about here. It's not, you know, this

31:07

is not trafficking, but it

31:09

is the sort of political marriage

31:11

that is effectively owning

31:13

someone else's life and body and using

31:15

it as a political jet -- Mhmm. --

31:17

in an exchange. Mhmm. Yeah.

31:20

Did based? Disney plus dot com slash

31:22

video slash 93C891DC

31:24

hyphen thirty thirty like,

31:26

okay. They

31:27

really let you do the thing. Okay?

31:30

Cheddar's.

31:31

Also, also, also, also, Davo,

31:34

also, Davo's vibes are

31:37

wild. just on entrance. Anyone

31:38

I just I was like, this

31:41

is

31:41

not at all -- Not at all. -- I was picturing,

31:43

but also is exactly the

31:45

perfect It's perfect.

31:46

It's perfect. It's amazing. That

31:49

so this is the thing I can't figure

31:51

out is like,

31:53

I I feel like a dude like this

31:55

if if there's not

31:57

enough velvet glove, he couldn't be who

31:59

he is. You know what I mean? And -- Yes. -- the

32:01

problem is, like, Manavva's

32:03

distaste and hostility form to me,

32:05

Smack's also like so much

32:07

of just blue blooded

32:09

old money snobbery. She can

32:11

test this man. And I,

32:13

like, I still I have this suspicion

32:15

that, like, one, is he a is he a

32:17

officer? is he just, like, he's

32:20

changing this here? Right. That's the thing.

32:22

Basically, is he basically running, like, a

32:24

Swiss bank and, like, kind

32:26

of a dirtbag But that's

32:28

that's the one part of this. I don't I don't think you see the

32:30

last of it. I don't think they I do not think

32:32

they referred to this guy an

32:34

episode ago and introduce him with the scene

32:36

and then it goes away. Ivan

32:38

Steele's this deal's getting done in one way

32:40

or another.

32:40

Why would she have such a

32:43

disdain for him? Like, prior to

32:45

him suggesting that

32:47

they

32:47

marry their children for, you know, political

32:50

gain,

32:50

like, that's what Shadow ones do.

32:52

That's the other thing is it's not that far out,

32:54

but it's not a wildest ever. know

32:56

she spent the last fifteen years

32:58

of her life ever since she was married

33:00

to parent being like, but not

33:02

all her daughter. We're getting out of

33:04

this. I'm gonna live on Coruscant. She's not gonna

33:06

be from Saint Changela, she's gonna be

33:08

from Coruscant. Right? And,

33:11

like because they

33:12

were already made for

33:13

a whole year before yeah.

33:16

before

33:16

they move forward. Exactly. And it doesn't

33:18

seem like he's thrilled with parents, thrilled

33:20

with this tradition either. So it's easy

33:22

to imagine this could could have

33:24

and we're really projecting here or really

33:27

digging. But, like, could have been a thing they

33:29

both agreed upon in in in

33:31

content, or it's going to be a thing that he

33:33

could have always assumed they were going to do

33:35

it, and she could have not assumed. And that will

33:37

be a wonderful scene. Mhmm. I

33:39

just wanna shout out her acting really quick on

33:41

the scene, Jennie O'Reilly, Absolutely. The the ability

33:43

to be like, I am maintaining poise.

33:46

My hands are not cross are not

33:48

crossing me to indicate any

33:50

sort of house hostility or defensiveness. My hands are flat

33:52

on the couch. I am seething. I

33:55

hate every part of

33:57

this interaction. I hope you die. I

33:59

hope the blood in I hope it just stops.

34:01

No. We don't. I hope it just stops. It

34:03

turns to a solid. That's what I want

34:05

for you now. The energy sheet is

34:07

critical. behind, like, this tiny

34:09

screen. serene. Yep. Mhmm.

34:11

And It's so powerful. We

34:13

keep getting the shots to Tay, looking at her as if

34:15

she is a live grenade. Okay. I'm just sitting in

34:17

the room. No. Scared. But he isn't scared

34:19

he isn't scared of of

34:22

of scolding. he scared of what the mama

34:24

might be about to do at any moment this scene. So mama about the han solo

34:26

of the dude, you know.

34:29

she's just sitting back.

34:30

Like, she's got her hands, like, buy her hands.

34:32

I'll take the

34:32

I'll take the loom out of your hide.

34:35

Yes. Yes. Yep.

34:38

So with that,

34:40

I think we've covered

34:41

our bases. It's time to get to near

34:43

to near Kiena five. Oh, my god.

34:45

I got a cry. opened

34:47

in the episode, we've actually, you know, as

34:50

satisfying as was as never more than

34:52

twelve was. Keno's not

34:54

fully in. He's actually broken

34:56

when we open on the

34:58

episode. We get some we

35:00

get some great circus

35:02

here. Like, it's

35:04

it's fantastic. He looks

35:06

utterly despairing and

35:08

he needs a Pep talk. But

35:10

he the Pep talk comes in the form of

35:12

this this dialogue he has with Andor.

35:16

What key what what what

35:18

Keno sees when he looks at this

35:20

situation is that they

35:22

were up against an

35:24

impervious edifice. Andor is

35:26

making a different argument about

35:28

what the state of play is in this

35:30

facility. Yeah. I think, you know, he's he's

35:32

pushing back on it on saying and basically

35:34

saying, well, there's no way we can do it. And

35:36

the point that the point that

35:38

Andor tries to make I

35:40

think Keno calls him insane and he goes, no, listen. They don't

35:42

have enough guards and then they know it.

35:44

They're afraid. Right now, they're

35:47

afraid afraid afraid of what? They just killed

35:49

a hundred men to keep them

35:52

quiet. What would you

35:52

call that? I call that power. power.

35:56

Power it was in panic.

35:58

Five

35:58

thousand men

35:59

are about to find out they're never living

36:02

here

36:04

alive. Don't you think that worries them

36:06

upstairs? Whatever we're making

36:07

here is clearly something

36:10

they need. They can't

36:11

afford to be surprised

36:14

again. They'll never be

36:15

less guards than tomorrow. You know

36:18

that on program. Every day

36:20

we wake they get stronger. We might be wise to have a

36:22

plan. We have a plan. Oh, watch

36:24

who you and burn off

36:26

a mouse You don't have

36:28

time to be stupid. Come

36:30

on. The plan works

36:32

around a new man coming

36:35

down. That'll replace all of tomorrow.

36:38

That might not happen again until it's too

36:40

late. I'd rather die trying

36:42

to take down than

36:44

they're giving them what they want.

36:47

We won't

36:50

have

36:51

a better chance. It to

36:53

be tomorrow. Program.

37:00

Take

37:05

where

37:08

it's obviously,

37:12

power doesn't panic. It's just a killer line.

37:14

Such a bad line. I I

37:16

wanna be petty really quick. Okay. I gotta be petty in two

37:19

ways. One is whatever we're making

37:21

here is clearly something they

37:23

need, they can't afford to

37:25

be surprised again, confirmed

37:28

they are not making things and unmaking

37:30

things in a different room.

37:32

And doubly so because Tony

37:34

is out here in an interview this week,

37:37

where he explicitly did y'all see this?

37:39

Do I link this? Mhmm. He

37:42

explicitly he explicitly said, you know, I

37:44

saw a thing where people said

37:46

that, you know, they were

37:49

just making things to unmake them in a different in

37:51

a different room. Obviously,

37:54

the empire is is a huge

37:56

thing and it's trying to get as much

37:58

as it can out of everybody. So I love to

38:00

see I love to see a bad theory get shut down. That's

38:03

all. Tony's out here. Tony's

38:05

reading. He's reading. reading

38:08

the takes. I also I I do love that interpretation that

38:10

Andor is offering. Like, you know,

38:13

there's two ways of interpreting

38:16

these, like, you can

38:18

see an empire or the authority of the

38:20

people in power lash out

38:22

incredibly violently, and you can see that as

38:24

the same of, like, why don't even resist? Don't even try you. You can't

38:26

even do it. Or you can also see it

38:28

as a

38:32

desperate response trying to break resistance

38:34

because, actually, there's not that much behind

38:36

it. Like, if the

38:38

intimidation doesn't work, what is

38:40

actually there?

38:42

And the implication that Andor has reached is there's very

38:44

little. And this is where, you know, when

38:46

he first got that walk through in the facility, we

38:48

kind of sensed that it was a hollow

38:52

edifice. that the floor is very impressive. way control the

38:54

prisoners -- Yes. -- it's all very impressive.

38:56

The guards were not. their

38:59

little security room was not. And boy, are we going

39:02

to see that fold up five -- Absolutely. -- in

39:04

this episode, satisfying way.

39:06

Another another small thing that's just

39:08

like great script writing. And again, we talk so much about what the show

39:10

does in terms of political theory and,

39:12

like, referencing, you know, anti

39:14

imperialism and and anti colonialism. I'm gonna do that.

39:16

Oh, that's Also,

39:18

it's just a killer and I've said this before. It's just a killer show

39:20

in the genre that it whatever genre

39:22

it's working. And this is a killer heist

39:24

or a killer prison break arc

39:28

one of my favorite little things here that's just good

39:30

clean writing is the beginning of this

39:32

scene Kino tries to drag

39:35

Andrew. He goes on program because the

39:37

the voice says on program. He now drops

39:39

into it. And when Andrew stays behind, he goes over a

39:41

tries to drag him over there. Please, just

39:43

get on program. And by the end

39:45

of it, after Andor has just like

39:47

shook him with this speech, Kino is the

39:49

one who's just like left standing in

39:52

place, and Andor

39:54

walks over gets on program and then, like, growls back at

39:56

him program. And he comes back

39:58

over and gets on and it's just

39:59

like shift

40:02

in power has happened. Andor is now

40:04

pulling you into this because you need in some

40:06

ways, it is this whole episode had

40:09

me thinking about Karen in the in

40:11

episode three. And Karen's absolute

40:14

inability to manage the

40:16

situation, to be the actual person behind

40:18

the power,

40:20

And so much of this is and or

40:22

giving the pep talk that

40:25

Karen couldn't give directing

40:28

Kino to be the on the ground commander, but not needing to

40:30

do it himself, being able to delegate. And also,

40:32

he couldn't do it himself. He knows he can't do

40:36

it himself. whereas Karen thought he could. Right? And

40:38

the differences in in understanding what

40:40

their roles are supposed to

40:42

be here, Andor is

40:44

doing the job that Karn should have

40:46

done in that initial attack

40:48

on on

40:50

Varex. in that he has he

40:52

has the strategy. He has the plan. He'll do

40:54

he'll be a role player, but he's not gonna be the

40:56

guy. He's not gonna be the guy ordering people

40:58

around moment to moment. you you need kino for that.

41:01

Kino is the big boy who can do

41:03

it. And everything's gonna hinge on

41:05

him anyway because you know,

41:08

Kino, and and what I love about

41:10

this, is that

41:12

it's not just that there's there's a little

41:14

bit of the dynamic, like, and or

41:17

not wanting NEMEX book book.

41:20

Kino doesn't wanna have to like,

41:22

he is because the what he has to accept is his

41:24

own death. What he has to accept is, like,

41:26

if he if he buys into

41:28

this, he is committing to probably tomorrow I'm going

41:30

to die in a prison break. And so as Andor, they come

41:33

back in the room, the floor goes

41:35

hot, andor tells them,

41:37

and this is why Like, it is so

41:39

wild that there's no not even eavesdropping. As he said, nobody's

41:41

listening. No one's listening. I still No.

41:43

The confirmation

41:43

of that really, really

41:46

got me. It was it was

41:47

He just shouted down the

41:50

hall what

41:50

they know and tell everyone

41:52

nobody's getting out and they they need Keno to

41:54

confirm they're they're not gonna buy it from Andor. And this is why Keno like, there's a couple reasons Keno is

41:56

key to this, but the big one is he is

41:58

the boss. He's the guy with the most authority. Like,

42:00

the guys look to him to lead.

42:04

And as they're all, like, I'd like as they're wrestling with

42:07

this shocking news, the fact like,

42:09

you can see the moment where Keno

42:11

resolves that, like, I

42:14

There's no choice. There's not even a choice. It's just I

42:16

have to accept that this is the

42:18

moment. And fully

42:20

antisemitism's brass longed

42:22

just bellowing into that mirror.

42:25

said no one is

42:28

getting

42:28

out. It's

42:43

true.

42:47

Through is

42:49

a true. They're not

42:51

letting us go ever.

42:57

We're

42:57

gonna die here or

43:00

in

43:00

the next

43:02

place. So

43:05

let's get our heads back

43:07

in ourselves and start figuring

43:09

this

43:09

out. Give them

43:11

the Emmy. If you give

43:12

them the Emmy If he

43:15

doesn't give them If he doesn't get the numb

43:17

you know, one way out. You know, I might have to

43:20

have a word. I might have to have to make

43:22

some mistakes.

43:24

I gotta I gotta get I don't have to get some things in order.

43:26

The the face he

43:30

makes. The face

43:32

he makes. trying

43:34

to steal himself to do it.

43:36

His hands above his, like,

43:38

just oh, it's so

43:40

it's so good. It's so Good.

43:43

way his voice drops sometimes

43:46

and he can't be the strong person he

43:48

wants to be. Just for a second, it just

43:51

slips out that he's scared

43:53

to. It's just so perfect.

43:55

It's just what do you what do you

43:57

come on television? Come on. Film.

43:59

Television. It's so

43:59

broad. It's so broad.

44:02

The emotion

44:02

Unbelievable.

44:04

believable God,

44:06

it is

44:08

It is so great. And the next time back to, you know, as

44:11

the as the day shift begins, Keno

44:13

gets his he gets

44:15

his final orders. to

44:18

the team. It is after we may wanna excerpt

44:20

this, because there's like We're all gonna

44:22

go watch the episode because otherwise,

44:25

we're not watching this. Believe

44:28

this time. We are done with

44:30

counting shifts. There is only

44:32

then and now.

44:34

There's only

44:35

one way out out,

44:38

play it how you want.

44:40

But I'm gonna assume

44:42

I'm already dead and

44:44

take it from there. There's no

44:46

sense in warning the night shift. He'll hear about it one

44:49

way

44:49

or another soon enough. Let's

44:52

make

44:53

it look good. There is only

44:56

one way out. And he

44:57

just dropped it there conversationally. There is only one

44:59

way out. That's not a big thing. He just

45:01

says it, but I'm going to

45:04

assume I'm already dead and take it from there.

45:06

Well, he says, play it

45:08

how you want, but I'm gonna and we return to

45:10

that theme of He always sees it as a game.

45:12

What's the

45:14

system? What's the play. How do we handle? Like, what's the way to do How

45:16

do we handle this? And here,

45:18

the only play now is stake

45:20

everything on a desperate attempt

45:24

to, if not get

45:26

out, kill these bastards.

45:27

There's

45:28

there's also a brilliant pacing

45:30

mechanism that they use with the

45:32

floors for the very beginning of the

45:35

sequence. As as -- Yeah. --

45:37

Andor and and

45:39

Keno are coming out into

45:41

the dormitory area. They're walking

45:44

down sort of the

45:46

promenade between, you know, the two

45:48

sides of beds and everything. and you can

45:50

see the lights of the floor. Everyone's like

45:52

in their cubbies and you can see the

45:54

lights on the floor are only

45:56

illuminating white underneath and

45:58

or and kino's feet.

46:00

And so it it's pushing like,

46:02

you can you feel this

46:05

tension of the push as they walk

46:07

the the lights

46:07

following red behind them indicating that the the

46:10

floor is now charged.

46:12

And then and or

46:13

staying on the

46:16

the floor until, like, the very

46:18

last second, but, like, leaps

46:20

off with this just, like, very

46:23

like, this

46:24

finesse to to

46:27

it that feels like he's not he's

46:29

not afraid of the floors anymore. Like,

46:31

there's nobody fears there's this

46:34

very strange mix of,

46:36

like, conf like, in

46:38

the way that integrated into

46:40

their lives and understandings and

46:42

bodily awareness, but also,

46:44

like, is that an

46:47

absence of fear is that just because it's so

46:49

conditioned. Like, it's such a it's such

46:51

a bizarre thing to watch happen and

46:53

to set up this

46:55

particular conversation Yeah.

46:57

That's a great note because it

46:59

is like, so so much of what what makes

47:01

Andro special is that he sizes

47:04

things up. perfectly. Like -- Yeah. -- I would never be able to not

47:06

think about that floor. I would never be able to trust that

47:08

I've got the timing that down.

47:10

He does and he stops

47:12

thinking about Intuitively. Yeah. It's a rhythm for him. What a yeah.

47:14

Yeah. Like, here's I just wanna say really quick

47:16

also. There are so many great character actors

47:18

in this

47:20

show. that we don't say Diego Luna's name very often. And it's

47:22

interesting because he has to play the straight man here. He

47:24

has to just play, like, I'm I'm the guy. And

47:28

he's he's killing it. Like, he's just

47:30

doing a great job. He it it is hard to be in

47:32

a scene with someone as as

47:36

powerful as a performer as antisemitism in these scenes

47:38

and not be overshadowed. And I don't

47:40

think he's over and and again, end the scene that

47:42

ends with Skarsgard's incredible speech

47:45

that get to. It's hard to not only talk

47:47

about those people, you know.

47:50

Mhmm. But Luna has so many

47:52

things he has to do right with

47:54

small maneuvers. expressions.

47:56

The scene that we're about to get to

47:58

where he is, you know, hecticly

48:00

trying to break a pipe

48:03

it's hard to communicate tension

48:05

and the the

48:07

that small space between

48:10

dedication to a thing and

48:12

the, like, doubt that you might not be able to

48:14

fully pull it off the way you want, and

48:16

he does that really well. And so I I don't

48:18

wanna undersell

48:20

his his participation and and, you know, he's an anchor in

48:22

this show. He has to be good for twelve

48:24

episodes in a row. He's in every

48:26

episode. You know, Deadra's barely in

48:29

this episode. gets to take she gets to be on the bench for a little bit. She's

48:31

here for, like, a a bit. Karen is literally

48:33

not here. And they're all great, and they're killing it.

48:35

I'm not saying they couldn't be leading, you

48:38

know, actors. But but

48:40

he has to do This is a

48:41

lot to like, this is a lot

48:43

of show to Carrie as a as a as

48:45

an actor. It's in it's

48:48

incredibly It's also such a physical role. Like, it

48:50

is really, really impressive. My

48:52

guy is climbing upside down in this

48:56

episode. So What about yourself?

48:58

The the other thing so

49:00

as the as the crew resumes

49:03

the shift and Oh, we should

49:05

say it outright. The reason today

49:08

is the day because Who

49:10

left that? Oolof died, and that means a new guy is coming on the

49:12

floor. They're moving someone new into

49:14

this prison onto their floor to replace

49:16

Uolof. Well,

49:18

it also and or maybe it also notes, they probably figured out their

49:20

undermen. That's why they panicked. Right.

49:22

Right. Exactly. Totally. So

49:24

that's the combination of their already

49:27

they're already undermanned. They're already panicking

49:29

because of what they just did on the other floor.

49:31

They probably knew they didn't wanna do it. It's

49:34

it's too far. They squeeze too tight. They

49:36

know that. and they're opening the window of opportunity to bring

49:38

a new person on, lowering the elevator

49:40

to the ground floor, onto the the

49:42

work floor, which is which

49:44

was what he and I already forget the other dude's

49:46

name because he hasn't really I think his name gets

49:48

mentioned once

49:50

here. who who has been his main co conspirator

49:52

from a different cable. Oh, not Melchie.

49:54

It's the other brother. I don't remember

49:58

his name.

49:59

Anyway. So

50:01

yeah. So so that's the

50:03

that's the context for why this

50:05

is happening today. And because if they

50:07

wait to the next person, the imperials

50:09

may have gotten their shit back together. They may have restaffed up. They won't be

50:11

afraid anymore. Ali, you're gonna say

50:13

something? Yeah. It seems time sensitive because

50:15

by the time we

50:18

get to the new next morning, there's already, like, harsher --

50:20

Right. -- restrictions on the way people are

50:22

be able able to move and, like, communicate

50:25

with each other. they are now demanding silence when

50:27

the two groups meet each other in the halls, which

50:29

didn't happen before. And it's like,

50:31

your communication is gonna get cut off that you can't

50:33

organize this other wise.

50:35

Mhmm. What's what I love about this too though is

50:39

because because Keno notes, we

50:41

no point in telling you that was shocked.

50:43

Like, we we have what we need. We're gonna do it

50:45

here today just us. And the the funny thing

50:47

to that that point earlier

50:50

about how Whoops, accidentally fair because it's become a perfect

50:52

hotbed for an uprising

50:54

of sorts because there's really strong insular

50:56

identity that's independent of the imperials

51:00

as foreign force. The way Joaquinah

51:02

has worked, they have

51:04

imposed so much discipline on

51:07

these prisoners. And the work they've made them

51:10

do has turned them all

51:12

into finely tuned machines --

51:14

Mhmm. -- that

51:16

work together and trust each other. You know, when you see them

51:18

all, you know, get on

51:20

program and turn you know, snap to

51:22

attention and begin filing into the

51:24

work shift, the

51:26

realization that, like, oh, they created an

51:28

army. Like, they like,

51:30

Keno is now a

51:32

sergeant in

51:34

command of you know, a a company a man and

51:36

or as a general with an army of this

51:38

disposal. And this is all like, all of this

51:40

is because

51:42

of what this prison imposed on these guys

51:44

-- Right. -- that the the

51:46

the things that they all needed to break out

51:48

of this

51:50

place the empire forced on them and and and gave them

51:52

just by, like, the measure

51:54

of cruelty and foul danger. I this is

51:56

I have to go Austin Red with with

52:00

apologies to to Tony Gilroy, I

52:02

guess. It's in the communist

52:04

manifesto, which is not the Mark's ending goals

52:06

in this case that might go to

52:08

the most. for for lots of

52:10

reasons. But, you know, pretty

52:12

early on in the manifesto, which is a

52:14

short, you know, fifty page pamphlet

52:16

basically. The

52:18

he says outright. They say outright that

52:20

that bourgeois capitalist society

52:22

produces, again, contradictions and

52:26

produces crises. And their

52:28

answer to the crisis is to do more

52:30

destructive crisis driven stuff, like find

52:32

new ways to exploit workers.

52:34

Right? And in the process, I'm just

52:36

gonna quote, the weapons with

52:38

which the bourgeoisie fell

52:40

feudalism to the ground, the weapons

52:42

that the empire

52:44

used against the old order are now turned against the

52:46

bourgeoisie itself, but not only has the

52:48

bourgeoisie forged the weapons that bring

52:50

death to itself, it has called

52:52

into existence

52:54

the men who are to wield those weapons, the modern working

52:56

class, the proletarians. Later,

52:59

they write that the development

53:01

of industry, the proletariat not only increases

53:04

a number, it becomes

53:06

concentrated in greater masses, its

53:08

strength grows and it feels

53:10

that strength more, quote,

53:12

now and then the workers are victorious, but

53:14

only for a time. Their real fruit of

53:16

their battles lie, not in the immediate result.

53:18

But in the ever expanding union of think about what this

53:20

episode is about. This union is helped

53:23

on by the improved means

53:26

of communication that are

53:28

created by modern industry and

53:30

that place the workers within within

53:32

the workers of different localities in

53:34

contact with one another. It was

53:37

just this contact that was needed to centralize the

53:39

numerous local struggles, all of

53:41

the same character into

53:43

one national struggle between classes

53:46

because every class struggle is

53:48

a political struggle. This organization

53:50

of the proletariat's into a

53:52

class and consequently into a political party continually being upset

53:55

by the competition between

53:58

workers themselves.

54:00

you gotta they're they're turning us against each

54:02

other. This is what they do on

54:04

program. Comp compete. Try to

54:06

get a better

54:08

score. But they say it rises

54:10

up again stronger, firmer, mightier. The bourgeoisie therefore

54:14

itself supply highs the

54:16

proletariat with its own elements of political and

54:18

general education. In other words,

54:20

it furnishes the proletariat

54:22

with the weapons for fighting the bourgeoisie.

54:25

Just like Nemak was crushed by capital, it's a

54:27

little on the nose that they literally

54:29

literally go to war with the

54:31

things that they've

54:34

been building. Right. All

54:34

the tools, they're not, like, they're not make,

54:37

you know, making shifts

54:39

out of, like, everything that

54:41

they use against physic, like, literally, materially, everything

54:43

that they use against the guards

54:46

in an order to facilitate

54:48

the escape. is just

54:50

what's on the work bender's hand

54:52

to them.

54:52

It comes out of the table. It comes out

54:53

they they

54:56

aren't listening. why would they have ever suspected

54:58

they have such confidence

55:00

in the power of

55:02

intimidation and the power of fear

55:04

that there's

55:06

no they they have no reason to believe that there

55:08

would they let them out. Like,

55:10

in the morning, the moment that it really

55:12

hit for me was when

55:14

the floor turned white in the morning.

55:16

Because they all night probably

55:18

were talking or or making

55:20

plans. I mean, keynote in

55:23

in is yelling is yelling.

55:26

Like,

55:26

we're not getting

55:26

out. Like, no They

55:27

don't have a decibel counter. Like, they

55:30

literally they're not even there's not even a

55:32

red light.

55:32

yeah, there's no, like, oh, disturbance on Like, nothing

55:34

at all. The the lights

55:37

turn white. Everyone gets gets

55:40

down from their beds and they go knowing that today is

55:42

the day that they're going to break out or they're

55:44

gonna die trying. And it's like that was

55:47

such a powerful moment for me, and it just

55:49

felt like,

55:50

oh, we are

55:52

in it today. We're in

55:54

it. We are in it. So really quick,

55:57

the brother's name is Burnock, the character

55:59

who has been the the shout

56:01

the fuck out to Burnock. You know

56:03

what I'm saying? hundred dollars --

56:06

Exactly. -- good sounding work. -- to help

56:08

develop that plan. Yep.

56:10

And as and as of the tragedy of things

56:12

like this, just like you're you're

56:14

part of this thing, and then you just get shot

56:16

down -- Oh, okay. -- at a

56:19

moment. So also as as they

56:21

get underway and get in place, for

56:23

the the breakout

56:25

attempt. There's a little observation I made a

56:27

few weeks ago. I was, like, a little proud of I think I'm

56:29

picking up on something from the show that Andor's

56:31

most pivotal moments are associated

56:34

with water. He's an elemental creature.

56:36

Like, there's a you didn't even

56:38

save this. Did we did we put did we

56:41

put this on radio? No. We didn't put

56:43

it on radio? No. because

56:45

I was I was like You thought it

56:47

was a silly observation. Okay. Here,

56:49

you this. On October

56:52

twenty fifth, I have the evidence in front

56:56

of me. You say? You wanna just read

56:58

it? Do you wanna read it in your voice? No. No. Please. Please. Okay.

57:01

You say. Not sure if this is

57:03

particular if it is particularly clever.

57:06

but I'm realizing now that there is a motif and or

57:09

is using around water. He

57:11

and just spoilers

57:14

for Brooklyn. he and Jin

57:16

dragged themselves to the Waters Edge and

57:18

Rogue One to await the Death Star

57:20

blast. But the series

57:22

opened

57:22

on his walk through a driving rainstorm the night

57:24

he kills those two cops. The flashback

57:27

to Kunari opens with him at the

57:29

water's edge watching the

57:32

ship crash. There is the reservoir on aldani, but he doesn't go

57:34

near it, sent to Enveldu. He

57:36

isn't changed by his

57:38

experience there. but it is on the

57:40

beach at Neomos that his life's

57:42

trajectory has altered again.

57:44

Oh, and you could probably make something of the

57:46

fact that when he changed when he charges

57:48

those troopers on Ferex, it's in the middle of a

57:50

scene. I was thinking about

57:52

it. fucking did

57:54

that. Bro.

57:55

Don't get that.

57:57

Wrong place. That's my

57:59

boy.

57:59

Y'all don't have boys

58:03

like this. You all got a Rob Zachney. We

58:05

got a

58:05

Rob Zachney. I did

58:08

start. Do you

58:09

understand? I don't understand. My

58:12

voice said

58:12

you haven't noticed? He said.

58:15

My voice my voice said, do

58:17

you ever notice the place

58:19

that water has?

58:20

When Russ said that, I was like, that's

58:22

nice. Right. I was like,

58:24

that's nice. That's a nice little mote.

58:27

No. This shit

58:28

is real. This shit is going on.

58:30

Well, exactly, I wish I had the I

58:32

wish I had the time stamp on

58:36

it. Again, king of five. We haven't

58:38

seen our king of five. When he

58:40

says this, I don't think. Have we when's our when's

58:42

our king of five? We hadn't seen our

58:46

king of seen thirteen of five. We haven't seen it. We

58:48

didn't know he was going to the prison on the

58:50

water world. We had nothing. It

58:52

was just

58:54

Rob Zackney doing the analysis.

58:56

This is the

58:58

the process process.

59:01

This is years. This is the

59:02

worst place you could have been prison to. Look at that.

59:05

Pizza water is too big

59:08

about people. So

59:10

The moment especially because,

59:12

like, when the moment when the so

59:14

there's a flood in the the the

59:17

floor that they're breaking out at. Right. He calls it because it's that

59:19

water man that he's been hacking into with the

59:22

executive. Which again, he was doing it for weeks

59:24

and none of us stops. And what the fuck is

59:26

he doing?

59:28

think I was about to conduit or something. Yeah.

59:30

The the thing that

59:31

I was able to say, like, the the moment the

59:34

the first moment that we see other

59:36

people in the prison

59:38

getting clued into what's happening

59:40

is not plaster's. It's not

59:42

smoke. No. It is water

59:43

dripping from the floor above. And I

59:46

was like, I gotta ask rather

59:48

that. Yeah. Well, I

59:50

was also I was also Wow. My

59:52

little observation, I was like, I think a lot of people

59:54

are gonna get it now. because, like, the water starts

59:56

washing across the floor, the episode's gonna

59:58

end with the the concluding image

1:00:00

of the escape from NARCANA is

1:00:03

going to be like, the fertilization egg in reverse, the the

1:00:05

people swim out away from the from the

1:00:08

circle and the center of the frame,

1:00:10

the seeds of

1:00:12

rebellion ending like, carried away on the water,

1:00:14

bursting away. Yeah. Uh-huh. Yeah. Yeah. Like,

1:00:16

blood from the like, blood from a wound.

1:00:18

It's unbelievable.

1:00:20

But it

1:00:23

is but I but I do love

1:00:24

that, you know,

1:00:27

in

1:00:27

this handoff, The

1:00:30

sloppiness

1:00:30

once again is failing. Yeah. We see the

1:00:32

sadist. Once again bullying

1:00:34

the new guy. We see that

1:00:36

they've figured out the timing on how guards is safe before they send

1:00:39

them in. So everyone's, like, doing their, like,

1:00:41

whoa, turn them my gears. Let's let's

1:00:43

-- Hey. -- get all

1:00:46

the fun. there's that there's that bit where it's like how's it looking out

1:00:48

there? The guy kinda just

1:00:50

shruggingly peeks out the way. Is it looking

1:00:52

good? Looks

1:00:54

good. Yeah.

1:00:55

It is. And and meanwhile, the people

1:00:57

on the floor -- Oh. -- are

1:01:00

handshaking. What the body

1:01:02

know? Who is

1:01:04

it who is it? you know, close-up

1:01:06

of the the shaking hand. The best shit

1:01:08

is just fucking kino in

1:01:09

in like, fucking

1:01:12

andor is walking over to the to the water main

1:01:14

to go start his little, you

1:01:16

know, filing situation. And Kino

1:01:18

Walkwaysai is one way out.

1:01:20

It's one way out, like, saying out.

1:01:22

That's no. That'll

1:01:24

cry. all the way out. I mean, it yep. And was

1:01:26

it was it was it JEMVOC? Who is it

1:01:28

who is it who's, like, I'm dead. I'm

1:01:30

already dead. I'm I'm dead.

1:01:33

No. Is Jambox the bigger dude? Like,

1:01:35

the -- Okay. -- like yeah. Who's the year?

1:01:37

It's like, I'm pretending to be dead. I'm

1:01:39

always the red head dude who gets

1:01:41

gunned down. I I mean It's it's it's it's it's

1:01:43

it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's

1:01:45

it's it's it's

1:01:52

By the way, I saw people asking, like, why aren't there

1:01:54

more aliens in the andor? And I think Gilroy's response is

1:01:56

kinda like, I don't really wanna work with the pop

1:01:59

it's in the costumes. It's not really my He

1:02:01

has no set of different thing, which is

1:02:03

also interesting. Also, Gilroy

1:02:06

is

1:02:07

Gilroy is playing the press

1:02:09

a little bit with his answers. He will often give answer a

1:02:11

where he's like Yeah.

1:02:14

I see. You could you could do any sort of

1:02:17

analysis to this I saw someone

1:02:19

using words is Marxism. And

1:02:22

then, like, two interviews later,

1:02:25

being, like, yeah. the high son

1:02:27

al Donnie is modeled after the one Stalin did to fund the communist

1:02:30

revolution in Russia. I'm just

1:02:32

a guy who likes

1:02:34

history though. and

1:02:36

I mean he is. Right? And it Lucas is that too. Right? We we often talk

1:02:38

about the way that the the prequel trilogies

1:02:40

can be read, especially two and three,

1:02:42

which happened post nine eleven.

1:02:44

release nine post nine eleven, especially, revenge of

1:02:46

the Sith, as being in conversation with the rise of of

1:02:48

American fashions and the response to

1:02:51

nine eleven, etcetera, but also a

1:02:53

lot of people take those movies being a broader commentary on the rise

1:02:56

of tyranny, the Roman the

1:02:58

fall, the Roman Republic, etcetera, etcetera.

1:03:02

etcetera. I think that that he is like Lucas in

1:03:04

in you know, it's funny because

1:03:06

how I'm Lucas like this show is,

1:03:09

but like Lucas he is a history nerd who is

1:03:11

interested in the the way that we keep going

1:03:14

back to empire, the way that we keep falling

1:03:16

into the

1:03:18

trap. and

1:03:18

how people end up resisting it. What it looks like to become radicalized

1:03:22

into fascism, what it looks like to become

1:03:24

radicalized into

1:03:26

a revolutionary. great

1:03:28

questions to have. And it and it is fundamentally

1:03:30

important to understand that

1:03:32

these are not things only connected

1:03:34

to our contemporary moment. that,

1:03:37

you know, over and over

1:03:40

again, people do take power. And they

1:03:42

often take power in different ways,

1:03:44

but there are ways

1:03:46

to identify that it's happening. There are things to pay attention to that are

1:03:48

broader than whatever the contemporary mode

1:03:50

is, and also to remind ourselves, there

1:03:52

is no

1:03:54

escaping whatever

1:03:56

comes next, whatever our way whatever happens

1:03:58

after we find our way

1:03:59

out needs there needs to be vigilance. There

1:04:02

needs to be the idea

1:04:04

that, like, we are putting processes in place and not just arriving at some

1:04:06

final destination of freedom from

1:04:08

tyranny, there will always be somebody who's

1:04:10

trying to spin

1:04:12

that shit. So I think that that

1:04:14

perspective that he puts forward is very good. But again, you

1:04:17

know, joining Rob, he

1:04:20

says in another interview that the reason he doesn't wanna

1:04:23

do aliens, he says, you know, I

1:04:25

saw someone say basically

1:04:28

that aliens are in a different prison. That and that's probably

1:04:30

true, basically. But he

1:04:32

also explicitly says, I have it right here.

1:04:34

He's gonna be three seconds to click on

1:04:38

the link. There's already so much politics in

1:04:40

the show to begin with, and we're

1:04:42

trying to tell an adventure story really. So

1:04:44

adding strong alien characters means that

1:04:46

all the sudden. There's a whole

1:04:48

bunch of new issues that we have to deal

1:04:50

with that I don't really understand that

1:04:52

well or I just couldn't think of a way to

1:04:54

bake them into what doing? You'll see more as we go along, but it's a question

1:04:56

and one will be answering as we go along. There

1:04:58

was a more human centric side of the story

1:05:00

and the politics to it.

1:05:02

There's certainly no aliens working for the empire, so that kind of

1:05:05

tips it one way automatically. And

1:05:07

him saying, outright, they're

1:05:09

their own political thing. they

1:05:12

raise questions is That's really smart. It's

1:05:14

so I thought it was a production thing

1:05:16

and not that he's like, I don't

1:05:19

have the writer's room right now to deal with, like,

1:05:21

what does it mean when you have,

1:05:23

like, a monk Moncala in

1:05:25

in a scene or something like that? I

1:05:27

mean, did you see the other thing that came out

1:05:29

this week about the production

1:05:31

of the show? Oh, the

1:05:32

five day writer room. What is

1:05:34

going on?

1:05:35

How is that pounceable? I

1:05:37

missed this. The writer's

1:05:40

room period, fourthly, go ahead,

1:05:42

Natalie. The writer's room

1:05:42

period for the show was five

1:05:45

days. Per

1:05:45

episode? No. That's it. Per

1:05:48

episode. They figured out

1:05:50

Andor in five days. That's

1:05:52

just so It doesn't mean that okay. To

1:05:54

be clear, be clear that doesn't mean that they wrote it in five means

1:05:56

is they came together as a writer's room

1:05:58

and plotted out

1:05:59

this season. assigned

1:06:02

who was writing, what episodes,

1:06:04

potentially what their directorial teams were, or

1:06:06

at least who they would want to what type of

1:06:08

person they would want to direct each thing, what

1:06:10

the main major plot beats are, what the overall character arcs are.

1:06:12

You know, they plotted out the show. They have an

1:06:14

outline. Right? They know what each episode is going

1:06:16

to be. They know

1:06:18

what they're across. They know

1:06:20

how those potlines are developing,

1:06:22

etcetera. The idea that they

1:06:24

did that in five

1:06:26

days is astounding to me.

1:06:28

It's

1:06:28

it's unfethed. Like, it confounds

1:06:30

me. I don't know how that's possible. Unless,

1:06:33

was everyone just so

1:06:36

like,

1:06:36

in and just there was it was, like,

1:06:38

mine melded across, like,

1:06:40

is there just, like,

1:06:42

this very strong

1:06:44

sense of trust between the right like, I just have

1:06:46

to wonder what the dynamic helped. they

1:06:48

filmed parts of it like that.

1:06:51

story board meeting. This is

1:06:52

the most I've ever been, like, eating

1:06:55

up the morsels of, like,

1:06:56

production. Oh my god. Oh my god.

1:06:58

They're gonna walk us. They're not gonna put this on, like,

1:07:01

high def, bluetooth kind of special features is gonna

1:07:03

live on Disney. It doesn't look like you

1:07:05

wanna because, man, I would

1:07:07

like special features. Yep. I was talking

1:07:09

to a friend about this, and he was talking about how better Carl Salt just has a podcast after

1:07:11

every episode where the people

1:07:14

from the production team either I wanna

1:07:16

say it's the

1:07:18

show runner or somebody else, and then two one of two people from

1:07:21

production maybe, do a podcast just

1:07:23

about the episode that just

1:07:25

came back out and whatever the entire process was for making

1:07:27

it. They're interviewing costume designers and actors and

1:07:30

stuff as part of that. And I would I'd

1:07:32

pay a thousand dollars out of pocket

1:07:34

this moment I would I

1:07:36

pay a thousand dollars for you,

1:07:38

two hundred dollars. Thank you. I appreciate it. I

1:07:40

would match it to go to the we don't

1:07:42

get to go to the tone zone. You know,

1:07:45

I wanna go to the tollingo.

1:07:46

Take us to the tollingo. We need one. I'm gonna speak

1:07:48

possibility into the air. Yes. Love it.

1:07:50

Because after the Boba Fett thing,

1:07:54

Disney had that, like, weird who's Boba Fett,

1:07:57

fluff piece, documentary where it was,

1:07:59

like, this is who

1:07:59

Boba Fett has

1:08:02

been throughout the where the, like, of So

1:08:04

maybe we'll get, like,

1:08:04

a post and or season one, like,

1:08:07

making of the show. They

1:08:09

did that that for

1:08:11

Obi wan. Right? The Beyond Light and

1:08:13

Mat

1:08:14

They sure did it for the Menlorian. Okay. Where they did they they did

1:08:16

tons of, like, feature

1:08:19

sets for Menlorian. Right? think so. Oh, well,

1:08:21

they do the, like, star wars dot com, like And then this

1:08:23

day after the show, here's a blog

1:08:25

about a different thing.

1:08:27

Right? Oh, lights and magic was like a It

1:08:28

was a a jedi's return

1:08:29

is the one I'm thinking

1:08:30

for Obi wan kenobi. Mhmm. They

1:08:33

did a special

1:08:36

that was you know,

1:08:38

talking to the director, Deborah Chow, talking to him through They do

1:08:40

they do

1:08:43

the thing that they did for

1:08:45

some of the for most of the congress episodes of putting

1:08:47

up a an episode guide that trivia in it. And,

1:08:50

like, some of that trivia

1:08:52

is most of the trivia so

1:08:54

far has been like, did you know that,

1:08:56

you know, APAC went to a separateist meeting

1:08:58

on John Dora and John Dora was from

1:09:01

the older public. And the headpiece that Bix get,

1:09:03

you know, the torture headpiece looks a lot like

1:09:05

low box and firm empire strikes

1:09:07

back. And like, that's fine.

1:09:10

I I like this note here that

1:09:13

the ISB where the conversation

1:09:15

between DedRA and Korn

1:09:18

had happened on Coruscant. outside

1:09:20

of the ISP headquarters is just a

1:09:23

plaza at Canary Wharf in London again emphasizing the

1:09:25

British production nature of

1:09:27

the show. But like That's

1:09:29

not what I want. I mean, that sounds interesting, but I wanna hear that from a set

1:09:31

designer. I wanna hear and I want more. I want the juice. I want I want we

1:09:34

so much. We learned a really interesting

1:09:36

more

1:09:38

also recently

1:09:40

that the production designer was in

1:09:42

the writer's room -- Right. --

1:09:45

which was really

1:09:48

a fascinating detail because

1:09:50

that's not not typical.

1:09:52

Definitely not typical. But

1:09:53

the fact that it seems

1:09:56

like this this

1:09:59

show was just

1:09:59

approached from

1:10:01

a very holistic

1:10:04

perspective with

1:10:05

every depart been head sort of in mind

1:10:07

in in the conversation. It's just it's very

1:10:09

cool to see. It's like That was

1:10:11

was that

1:10:12

the script magazine interview where

1:10:14

he also said that he now He

1:10:16

he he says, the question is, for writers who

1:10:18

don't have the benefit of a production designer,

1:10:20

how can they pay attention

1:10:23

to things like production design when they're

1:10:25

writing. And Tony says, I've come completely around on the whole notion. I don't

1:10:27

ever wanna hear anybody saying that writers shouldn't be

1:10:29

directing. You have to

1:10:32

be directing. I'm not interested in

1:10:34

reading anybody else's scripts anymore who aren't directing the film that they're writing. You should be making a film and

1:10:36

showing it to

1:10:38

me on the page. king.

1:10:41

Absoluteism as a writer. Banger. Banger. You know?

1:10:43

For people who don't know because they're

1:10:45

just not in this part

1:10:47

of the, like, film

1:10:49

fan to drop that the f word. Inside of inside film

1:10:52

subculture and

1:10:56

and filmmaking, there you

1:10:58

know, it has been a long standard practice of directors to Chide writers

1:11:02

who try to talk

1:11:05

too much about what the film visually looks

1:11:07

like unless you have a really close relationship with a writer or unless you're some sort of star like

1:11:12

truly I don't even I

1:11:14

can't even name working filmmaker working script writers who are given this leeway normally to

1:11:16

direct on the page in this

1:11:19

way to talk about shots to

1:11:22

talk about set dressing or to talk about what

1:11:24

something looks like or feels like -- Mhmm.

1:11:26

-- instead of just giving very basic

1:11:29

stage direction or very basic, like, here's the time

1:11:31

of day, here's where it's shot, but giving the control of

1:11:33

all that stuff to the director who may

1:11:35

even re delegated out to

1:11:38

production designers, to cinematographers,

1:11:40

etcetera. But that that is the traditional way

1:11:42

of thinking about filmmaking. This is the maybe not traditional. But

1:11:44

the It's very church and

1:11:47

very church and state. Like, Yes.

1:11:49

Yes. The the

1:11:50

writer is not meant to ascribe direction on on the page. Like, that's what

1:11:52

being a writer

1:11:53

director is for. Like, then there'll

1:11:55

be a writer director

1:11:59

in So that

1:12:00

side will let him say this. We won't agree.

1:12:02

Yeah. It's cool. Things. Right. Exactly. But then you're

1:12:04

a writer director in that. Yeah. Exactly.

1:12:06

Yeah. Like like Gilroy is an unusual

1:12:09

like, character in in that he like, not many not many directors get

1:12:11

to do the Billy Wilder thing of, like, how do

1:12:13

we know as much or, like,

1:12:16

writer director? And

1:12:19

so, yeah, III do think

1:12:22

Like I like I I definitely

1:12:24

agree with that. I I

1:12:26

wish there were more opportunities for

1:12:29

it. So going

1:12:30

back to the

1:12:31

the breakout, you know,

1:12:33

we've got the guards

1:12:35

sort of not fully tuned

1:12:37

in on what's happening. How not tuned in? They don't they don't notice as they

1:12:39

take their positions on the catwalk.

1:12:41

The andor hustles back into

1:12:44

the room soaking

1:12:47

west. So Absolutely

1:12:49

drenched. Drip big water on

1:12:51

the floor as it

1:12:53

floods behind him. Well,

1:12:54

the other thing is that they

1:12:57

kept getting like stern stares all day

1:12:59

because protagonist of a television

1:13:02

show. We're being mugging

1:13:04

them through the bloodstream. you saw

1:13:06

them through. Absolutely. And no one

1:13:08

is holding back their disdain for

1:13:10

the garbage today. Everyone is giving them death glares.

1:13:12

And, you know, sometimes you're

1:13:15

just like, well, I guess

1:13:17

we did torch a

1:13:19

hundred people yesterday. Maybe they

1:13:21

heard. Pretty crazy. Right? Yeah. Uh-huh. So water

1:13:24

begins to spread. New guy comes

1:13:26

out. Well, and the score cuts

1:13:28

out. Like,

1:13:31

when the guards when the guards go in the go

1:13:33

in the room. What did

1:13:35

Marva say? Oh,

1:13:37

that's right. It's when the bell stops. It's when the music

1:13:40

stops playing. Sure.

1:13:41

And we get it

1:13:43

looks like there might be steady

1:13:46

cam shots we begin following the characters very closely

1:13:48

with my very dynamic camera

1:13:50

angles. We follow the guards, like,

1:13:52

almost over their shoulder as they

1:13:54

go in two, unit five two, we sort of observe

1:13:57

and or from from

1:13:59

a similar position. And

1:14:01

we get the you know,

1:14:04

as they begin putting a new guy

1:14:06

on the lift, a fake prison fight

1:14:09

breaks out. That old glass. Out of the

1:14:11

ham. See out of the prisoners. Fucking

1:14:13

ham in

1:14:15

Zall. Kings amongst

1:14:17

Kings. That's right. They're confused and or jammed the lift with

1:14:19

the tool. They because while they

1:14:23

were looking away, all the

1:14:25

guys picked up all their equipment for the shift and jammed it down there

1:14:27

down the clothes. And or and or

1:14:29

and or jams the jams

1:14:32

the lift. And,

1:14:35

you know, things are so bad. The new

1:14:37

guy immediately. The second he

1:14:39

gets the opportunity. You

1:14:41

shut up the new guy. shout us when

1:14:43

the shire the new guy. Just grabs that

1:14:45

cattle prod and just nails that

1:14:48

dude. Also, the

1:14:49

just the the one

1:14:51

take of him coming in and

1:14:53

shivering. Like, the new guy had his acting directors and, like

1:14:55

-- Yep. --

1:14:58

was on it. Yep.

1:14:59

III really appreciated that as a reminder

1:15:02

of

1:15:02

what, like, where Andor

1:15:04

was when he

1:15:06

came in. Like andor was Caffeine

1:15:08

was terrified. He was -- Yeah.

1:15:10

-- he was completely out of his element, completely lost.

1:15:14

Like, the most just

1:15:17

just the lowest we've ever seen him upon entering this prison and to see that

1:15:19

reflected in the new prisoner,

1:15:22

that fear, that, like,

1:15:26

presumably having just gone undergone a

1:15:28

shock treatment, you know, as as

1:15:30

he was coming in is

1:15:33

just, like, it

1:15:34

it was it was

1:15:35

I appreciated having

1:15:36

that reminder of of

1:15:38

where everyone came from,

1:15:41

how everyone stepped forward onto that

1:15:43

elevator the very first time what they were feeling

1:15:45

-- Mhmm. -- as they as

1:15:47

they approached. So Shout

1:15:50

a second.

1:15:51

And then right away, it's all on.

1:15:53

Like, they they shoot the new guy

1:15:55

because he when the elevator lurched, he

1:15:57

was able to get hold of the

1:15:59

Calipro. and then at that point signal to attack. Everyone

1:16:01

now has like what look

1:16:04

like really heavy

1:16:06

gears whipping through the

1:16:08

air at them as the

1:16:10

guards begin shooting back. But, crucially, they don't retreat behind their little

1:16:12

door, which feels like it

1:16:14

might have been the play. but

1:16:17

they they they kinda can't believe what's happening. They continue trying to

1:16:19

open fire, but no. Actually,

1:16:22

they have faith in their

1:16:24

thing. which

1:16:26

is the floor. The floor? Before they think of anything else, they start yelling at the child, the

1:16:31

the child the

1:16:33

the high school dropout who appears to have been assigned to this

1:16:35

this floor of the prison. I wanted to

1:16:38

call

1:16:38

that out specifically because because

1:16:41

so many of the guards throughout this prison

1:16:43

look very young. They're babies. They look very

1:16:45

very young.

1:16:46

They don't know another era.

1:16:50

all they know is imperial

1:16:52

life. Right. There's been fifteen years.

1:16:54

That

1:16:54

the kid that kid looks

1:16:56

twenty. Maybe maybe twenty. He

1:16:58

was five from the empire. started.

1:17:01

Right?

1:17:01

Yeah. So I feel

1:17:02

like, yeah, there there is something

1:17:03

interesting happening there about who understands

1:17:06

that the world could be different.

1:17:08

Mhmm. Mhmm.

1:17:10

We've talked a lot about generational stuff here.

1:17:12

Yeah. Again, it's interesting to think about

1:17:15

Leida in that way. Moderna's kid doesn't

1:17:17

know the world of the Republic. Not of

1:17:19

the Republic was like a gleaming, you know, we see

1:17:21

it in its decline in the pre equals. We see

1:17:23

it in its decline in clone wars. That's what

1:17:25

these things are. But Steve Palpatine was a guy. Yeah.

1:17:27

Exactly. Exactly. Teaming the guy from

1:17:29

the taboo. Paltz. She've I

1:17:31

don't even stop. She's

1:17:34

jumping outside. I was,

1:17:36

like, New

1:17:37

guy just dropped. New guy just

1:17:39

lost his ass.

1:17:42

Gluff shit out here. In

1:17:47

fact, actually, he's, like, half gungun.

1:17:49

I'm just big big

1:17:52

chief chief of the

1:17:54

team. It's funny because

1:17:56

only now have I realized that Palpatine, because you've

1:17:58

said it that way, Rob, probably comes

1:17:59

from Palatine.

1:18:01

Right? The

1:18:02

the, like, Roman term for, like, the

1:18:04

authority Like,

1:18:08

the the the emperor's like, it's like the emperor's person

1:18:10

in the distance. I'm pretty sure it's palatized. How is that hill?

1:18:14

Right? It's one of the seven hills Yeah. Palatine

1:18:16

is like the emperor's Is

1:18:18

in Palatine where

1:18:19

Jesus

1:18:22

got So you

1:18:26

mean Palestine? Hold on.

1:18:28

So Palatine

1:18:31

is one of the the hills of Rome.

1:18:33

Palatine where Jesus did

1:18:35

the bible tells us,

1:18:37

you get how hungry Calvary is where

1:18:39

Jesus dies and Oh, okay. Or Gold

1:18:41

Gotha. Right? Gotha is the one I

1:18:43

was Gold

1:18:45

Gotha. Gold Gotha. The one I

1:18:47

was thinking not Palatine. No Palatine.

1:18:50

anyway

1:18:51

Anyway. Wow.

1:18:55

It's very fun. Anyway, this

1:18:58

is what happens to Catholic

1:19:00

families, one generation

1:19:02

down. They don't remember the old

1:19:04

old lady. Pick it up.

1:19:06

Pick it up. This is

1:19:08

how Jesus got got vibes

1:19:10

from from this scene. So so they they called for

1:19:13

the floor to

1:19:16

be lit. they all get

1:19:18

on the they all get on the tables. And this was I'm surprised how

1:19:20

well this

1:19:24

works. because the floor is just soaking with

1:19:26

water. It's perfect. Like, permeate with water. The minute they hit the floors,

1:19:30

they short out. A total facility. This is just a theory's

1:19:32

ass to that. Hope. It just has to be hope. It

1:19:34

just has to be I hope it

1:19:38

does it. Well,

1:19:39

Anne, we learned, like, I think so good. When

1:19:41

do

1:19:41

we see that it's leaking through? Is it it's

1:19:43

after the break? It's after the

1:19:46

like, it's after this. The realization that places like this are not built to a high spec.

1:19:48

Like, they just aren't,

1:19:50

like, in, like, in a

1:19:52

-- Yeah. -- any more than you

1:19:54

would for regular shit and it's not as good.

1:19:57

Yeah. Like, good new construction. It'll show you a lot of contracts. Florida's, like, too for Florida to

1:19:59

start leaking. But this, it seems like

1:20:02

the minute water hits. It

1:20:04

is in

1:20:06

the underfloor -- Yep. -- and -- Mhmm.

1:20:08

-- in the facility. And so, yeah,

1:20:10

the minute they hit the the minute they

1:20:12

hit the floor, they disarm themselves effectively with

1:20:14

their with their best weapon. And at that point, it

1:20:18

is on and we

1:20:21

turn this turns into a

1:20:23

brief Einstein film. It turns into a tepid. Yep. As they storm

1:20:26

storm the guard house,

1:20:29

Well, Andor finally gets

1:20:31

up there. He, like, spider the catwalk. on

1:20:35

to the catwalk Like,

1:20:37

knocks one guard over, grabs his gun, shoots the other. And

1:20:39

the thing I love, no mercy. As we're turning to breach, he

1:20:41

sees the other one thinking about getting

1:20:43

a bomb. Boom. Done.

1:20:47

That that child working the execution

1:20:49

done. Done. The button doesn't

1:20:52

even work.

1:20:55

Done. The this is a table top character who put, you know, eight

1:20:57

points into blaster pistols. And finally, you're

1:20:59

giving him a chance to roll

1:21:01

through blaster pistols. He's like,

1:21:03

I'm a use it. I put all

1:21:05

these points in here. I got this ability where I'm not

1:21:07

gonna use it. And he and he's great. Like, it's it's so

1:21:10

funny to see him

1:21:12

just get shot after shot

1:21:14

in stylish ways. Like, it's nothing because this is what hours.

1:21:16

He is holding the

1:21:19

he is in control.

1:21:21

you remember. Right.

1:21:24

Aldani, what's he say? On the way into

1:21:26

Aldani, he's like, oh, you're you should

1:21:28

be standing over here. we had this

1:21:30

discussion. I felt like, well, what how does

1:21:32

he know that? And my supposition was like, he's kicked

1:21:34

down doors before. He's gone in gone's blazer before.

1:21:37

he has. He knows how to do this for real for

1:21:39

real. The the other thing I love is by the way that

1:21:41

so when

1:21:43

they when they reach into

1:21:45

the control room for for unit five two, and they start

1:21:48

pulling all the boy,

1:21:51

this facility has way many

1:21:54

blasters per guard is -- Yeah. -- so my take -- Mhmm. -- it feels like the guards, like, don't carry weapons

1:21:57

with them.

1:21:59

They are gonna arm

1:22:02

themselves at whatever site they need to. Yep. So there's like a million

1:22:05

there's like guns

1:22:08

for every single guard. And if you just like get

1:22:10

in that room, you have an armory. But the thing I love is the guns

1:22:15

they're pulling out. it looks to me like a blaster design.

1:22:17

We don't see a ton of in Star Wars, but it's what we saw all over a new hope.

1:22:19

It's I I think these are the blaster

1:22:22

pistols that, like, the rebel troops are using

1:22:24

a board. the

1:22:26

Tandem four. Mhmm. But, like, this is sort of they've got that sort of buck Rogers, like tapered end

1:22:28

that I feel like we didn't

1:22:30

see a ton of in Star Wars

1:22:35

after, like, that first movie, but I do just love, like, the ways

1:22:37

that this looks so much like

1:22:39

the original trilogy.

1:22:42

Like, just all of Moving to these hollings. hair

1:22:44

styles, the the costuming, the aesthetics, and

1:22:47

then little things like the

1:22:49

models we're going to use for for

1:22:51

the weapons. totally looking at the comparison now. They're

1:22:53

they're if they're not they're not exactly

1:22:55

the same, there's

1:22:57

more of a stock on the ones in the in

1:23:00

the thing, but the but

1:23:02

the barrels are that similar

1:23:04

silvered thing, which

1:23:06

is very distinct and Star Wars. They similarly have the sort of same

1:23:08

type of general scope thing. It's more like it's

1:23:10

almost like this is a carbine and the

1:23:13

ones at the the folks have or, like, sewn

1:23:15

off or have or on on the

1:23:17

tanner four or have, like,

1:23:18

just pistol version that is in

1:23:21

line. The the white and

1:23:23

orange against the extremely dark, white hallways

1:23:25

and everything. Like, it is definitely evoking evoking

1:23:28

that. My

1:23:30

my my

1:23:31

favorite detail as as,

1:23:34

you

1:23:34

know, prisoners are climbing

1:23:38

the elevators you know, they're all climbing to

1:23:40

the top. They're all going higher. Like,

1:23:42

what what is it that that

1:23:44

what is it that that

1:23:46

the homecoming epic said? climb? Everyone's Everyone's

1:23:49

climbing.

1:23:49

Is that

1:23:52

they

1:23:52

run everyone

1:23:55

runs past the boots. Like,

1:23:57

they don't need the

1:23:58

boots. They don't need the boots. And like The boots was a fake

1:23:59

out. The boots was a

1:23:59

fake out. It was such a fake out.

1:24:02

I was like, oh, shit. They don't

1:24:03

need the fucking

1:24:06

boots. Like, they the the one thing Once

1:24:09

you're off It was held as the

1:24:11

distinct as the distinction between, you

1:24:13

know, guard and I

1:24:15

mean, amongst other But a very

1:24:17

strong visual representation of guard versus prisoner was these boots. It was, like, one of

1:24:20

the main focuses

1:24:22

of the introductory sequence to

1:24:26

this prison. Like, we see we you

1:24:29

know, Zoom were, like, centered on

1:24:31

the boots walking towards Andor as you

1:24:33

like, lands on the on the prison

1:24:35

itself. And they just run they're inconsequential.

1:24:37

They

1:24:40

don't matter. It's great.

1:24:41

Fucking great. Absolutely.

1:24:42

And, like, we get so many great beats of, like, we see

1:24:44

the other units being liberated

1:24:46

as usually their first warning something's

1:24:50

up being a hail of gunfire from the

1:24:52

control room. So we're we're breaking

1:24:54

out of prison. Being

1:24:56

thrown through a door and off

1:24:58

a elevator

1:24:59

and landing splat, zoids right in front of

1:25:01

them. Yeah. The dude who runs for safety

1:25:03

into the work unit, shooting

1:25:05

behind him, and then

1:25:08

just gonna it's like riddled

1:25:10

with lasers. Yeah. It's it's great. And they begin

1:25:12

racing up

1:25:15

the up staircase toward the control

1:25:18

room. And it's incredible.

1:25:20

They got Nathan Fielder

1:25:22

here for an incredited. Right.

1:25:25

So God.

1:25:28

Yeah. Alan,

1:25:28

did you also have

1:25:30

that note? I wrote an

1:25:32

exhibit

1:25:32

the the reveal that

1:25:34

that spooky s voice is being used by Nathan Fields as funny cousin dot

1:25:36

dot

1:25:39

dot dot dot. We

1:25:42

found the two most definite guys in Britain at least within

1:25:44

charge of this

1:25:47

imperial prison facility. And

1:25:51

so, you know, this

1:25:53

man's in some fucking

1:25:55

weird ass

1:25:58

forums.

1:25:58

the Oh. Five

1:26:01

seconds. This

1:26:02

is the

1:26:03

writer. It's

1:26:05

so rinsed. I

1:26:07

hate him. And we

1:26:08

see him well, the other thing

1:26:10

that is great is throughout all this, it

1:26:13

is

1:26:16

shocking how little the guards have any idea what's happening

1:26:18

across the facility. They really don't. Their lack of surveillance extends to even

1:26:20

what is happening with each other.

1:26:22

No one knows this

1:26:23

is an attack what they know

1:26:25

is that there's been a water leak. They think there's a water leak

1:26:27

on on level five and --

1:26:30

Mhmm. -- like, they've tried

1:26:32

to contact other

1:26:34

places. They're not getting a response, but they have no suspicion I mean, in a way, they the

1:26:36

the unknown is what fuels

1:26:38

so much of the fear of

1:26:43

of the, you know, transmission that

1:26:45

the

1:26:45

guy get, that the,

1:26:48

you know, person

1:26:50

in charge gives, who I

1:26:52

is he he's the person

1:26:54

in charge, and he's also the voice behind it. Like, this kid is is

1:26:56

the person that must be clear.

1:26:58

He's the nurse,

1:26:59

Greg. This is his He

1:27:02

looks like an early gray. Permanent kid.

1:27:04

He does look like an early gray. No. But

1:27:06

yeah. But I think he's So I

1:27:08

think it's permanent kid status. I think some

1:27:10

Some people are permanent children. Some jobs and

1:27:12

ways of life never make you like

1:27:14

an adult. What's it? He's

1:27:16

he's also

1:27:18

like mid thirties. That's still a kid as -- Sure. -- as, running

1:27:20

up towards it and goes.

1:27:21

Sure. He might be mid forties.

1:27:23

I

1:27:23

I think he might as well He's

1:27:26

still ecologically stood against him. prolific

1:27:29

is here as as proof of urbanity. Shout out

1:27:31

to Patrick Clifford. We love Watch

1:27:33

more andor. You're not

1:27:36

getting your or takes

1:27:38

enough. Yeah. We need a new technology. into this. The so Nathan Fielder

1:27:40

has figured out because

1:27:43

he's got that little play.

1:27:45

He doesn't have stuff up on five, and he says, like, fry the whole level. And we

1:27:47

get I'm sure there's not a shout It's just a a

1:27:49

line of people say, but,

1:27:52

like, it does remind me

1:27:54

of when the dude's on the executor at the battle of the endor realized that the A Wing's hurtling toward

1:28:00

the bridge and bring up the shields too

1:28:02

late and they're they're dead. We get that too where he's

1:28:04

like just

1:28:06

juice the whole floor and that is one circus and and or

1:28:08

walk in. And

1:28:11

Little Nathan Fielder, I'm

1:28:13

never gonna learn his name

1:28:15

or the actor. Little

1:28:17

Mavenfielder tries to get cute. He tries smart. He's gonna do we're gonna do

1:28:19

a a socratic fucking

1:28:24

dialogue. with these two prisoners who

1:28:26

came in through the door when they, like, turn it off. Excuse me. What? What? That

1:28:28

could mean so many

1:28:30

things. Define what? Define off.

1:28:33

And Is and or is a kino just shoots the other dude in that

1:28:35

moment? No. It's kino.

1:28:38

Shout out the kino.

1:28:41

Keno, also by the way, it's on the

1:28:43

way up here where he again says one way out come and And in my notes,

1:28:45

this is before the big speech.

1:28:47

I'm like, that's it. That's

1:28:50

it. That is the that is it. One way out.

1:28:52

I had not realized the name of the episode was one

1:28:55

way out at that point. Really I

1:28:57

had not I you know what, I'd written it down. I'd written it down on top of my nose because I the way my notes work is, like,

1:29:00

ten one way out. And

1:29:02

we're getting close, I put the

1:29:04

little jedi

1:29:07

aphorism up top also, normally. But so

1:29:09

I'd written it down, but I had not

1:29:11

I had not keyed in on how

1:29:14

Honestly same because

1:29:14

people kept tweeting one way out.

1:29:17

I was like, bro stopped saying that

1:29:19

that's the whole, like, episode. And then I was like, oh, wait. Wait. Wait.

1:29:21

So and

1:29:23

then we get another

1:29:26

great moment with circus here as Andor tells him he's

1:29:28

gotta be the one

1:29:31

to tell the prisoners like

1:29:35

that this is happening that they are that they're free or at

1:29:37

least as free as they're going to get

1:29:40

here. And he can't he

1:29:42

approaches that microphone and he doesn't

1:29:45

have the words. And and or, like, tells

1:29:47

you've got to you've got to

1:29:50

be the guy I

1:29:52

saw on the floor that

1:29:54

first day. You've gotta be him, but for liberation. Can you do this every Tell

1:29:57

him what

1:29:59

to do.

1:30:09

My name.

1:30:10

Miss Kino Loy,

1:30:12

and

1:30:13

the day

1:30:15

shift of my agile on

1:30:17

level

1:30:18

five. I'm speaking to you

1:30:21

from the command center

1:30:23

on level eight. We are

1:30:26

at this

1:30:27

moment in

1:30:30

control of the

1:30:32

facility. Is that the

1:30:34

best you got?

1:30:39

how long we hang on,

1:30:40

how far we get, how

1:30:42

many of us make it out,

1:30:46

all of that is now up to us.

1:30:48

We have deactivated every

1:30:51

floor in the facility. All

1:30:55

the

1:30:55

flows are

1:31:00

called wherever

1:31:00

you

1:31:03

are. right now, get up, stop the

1:31:05

work, get out of

1:31:07

yourselves, take a

1:31:10

charge, and start climbing. They

1:31:12

don't have enough guards

1:31:14

and they know it. If

1:31:16

we're waiting till they figure that

1:31:19

out, it'll be too late.

1:31:20

We will

1:31:22

never have a better chance than

1:31:24

this.

1:31:27

rather die, try

1:31:29

to take them down and giving them what

1:31:31

they want.

1:31:34

We know.

1:31:37

They fried a hundred

1:31:38

men on level two. We know that they are

1:31:42

making up. Our sentences

1:31:46

as we go along.

1:31:48

We know that no one

1:31:50

outside

1:31:51

here knows what's happening. now

1:31:53

we know that when they say we are being released, we are being