I Have Friends Everywhere: An 'Andor' Radical Discussion Group

Star Wars is modern mythology. In almost 50 years of existence, it has become a cultural behemoth, one which is a defining example of our era of corporate franchise based popular culture. This has only increased exponentially since Disney paid $4.05 billion to acquire the galaxy far, far away in 2012. 

Yet it is also an inherently political story about armed struggle against an authoritarian regime, inspired by the Vietnam War and political upheavals of the 1960s and 70s. Throughout its subsequent development, Star Wars has continued to reflect and provide a distorted mirror towards our real world and its political events. From the Prequel Era’s comparison to the Presidency of George W. Bush to Darth Vader’s successor being a whiny incel, the history of the Star Wars Galaxy provides a way for us to dream and process our own political reality. 

However, with so much Star Wars media in existence, it’s only natural that anyone other than the most avid (or addicted) consumer would start to feel fatigue. Ever increasing iterations on the same story seemed to be collapsing in a swamp of self-referentiality, repetition and “Easter Eggs”. On their acquisition of Star Wars, Disney also asserted strict control over the work of the countless authors and artists had created until that point, solidifying a priestly approach to what is and isn’t considered “canon” that only reinforces the tendency towards total immersion in an ocean of lore. In this context, the release of ‘Andor’ was greeted with little expectation or enthusiasm from audiences. And yet, with the completion of the story with the show’s second season in 2025, there is now a growing acceptance of what many had been saying since the original debut in 2022. Unbelievably, it is now, after all this time, and via a Disney+ streaming series, that we have seen the greatest of all Star Wars media. 

‘Andor’ is Golden-Age Prestige television applied to the Star Wars Galaxy. It is a nuanced and political study of a number of deeply developed and complex characters. It humanises and explores the moral intricacies of both imperial functionaries and violent rebels, while never abandoning a commitment to justice and the viewpoint of the oppressed. In an era of the far right rampaging on a global scale, it could not be more timely in its examination of what are the motivations and thresholds that cause people to obey or rebel. 

‘I Have Friends Everywhere’ is a radical study group, dedicated to collectively sharing our joy and appreciation for Andor, exploring the real world history and political events which reflect and inspire its story, while also drawing out the messages it contains for our own lives and practices. Over 6 sessions, we will gather together online to collectively consider a selection of pivotal scenes from Andor, grouped by a number of key themes, followed by discussion. 

We will also have an online space for people to collect other material that they feel sheds light on our conversation, and to share longer reflections.

A selection of suggested additional reading and viewing material, both fiction and non-fiction, will be provided – none is mandatory. Please explore these at your own pace and convenience, and bring any connections you find back to the group. ‘I Have Friends Everywhere’ aims to be unapologetic in our commitment to taking ‘Andor’ seriously as a work of art, in dialogue with the rest of culture and history. But the only mandatory preparation needed is to make sure you've seen both seasons of Andor and Rogue One.

The group is radical but not prescriptively so. A variety of political perspectives are welcome, in a spirit of friendly and respectful discussion. We don’t want to become the Maya Pei Brigade. A minimal commitment to shared values is stated in the ground rules. 

Sessions will take place weekly on Thursday nights from 19.00 - 21.00. In order to provide one ticket which covers all six sessions, we have set this up as one event. You will receive a link to join us on Zoom, and a full additional reading and viewing list, will be emailed to you closer to the first session.

We have tried to keep the ticket price low to make this group as accessible as possible. It has involved many hours of work by several different people to produce. Smokies Walk With Me, the organisation behind this discussion group is completely non-profit, and all proceeds from ticket sales will be used to organise future film screenings and cultural events. If cost is a barrier to you being able to take part, get in touch with us at: 

smokieswalkwithme@zohomail.eu

Session 1:  Oppression is the Mask of Fear (18 September 2025) In our first session we’ll explore Andor’s depiction of the Galactic Empire as a bureaucratic fascist machine. This will be highlighted through the development of Imperial characters such as Dedra, Syril and Partagaz, and the ways in which they are humanised while never compromising on the critique of their moral complicity. In doing so, our villains move away from the monstrous face of the Sith to something resembling more the banality of evil – a move that makes them more realistic, but no less chilling or brutal. How do these characters justify their role, and how do they speak about the Empire they serve? What reward does their service receive? What lessons can we draw from this portrayal in combating our current fascist wave here on Earth?

Session 2: Rebellions are Built on Hope (25 September 2025) In our second session, we’ll explore Andor’s understanding of resistance, rebellion and revolution. From the elite politics of Mon Mothma in the Senate to the wild personal messianism of Saw Gerrera, by way of the ruthless pragmatism of the Axis network and the eventual professionalisation of the Alliance on Yavin. In doing so, we’ll explore a paradox at the heart of Andor – it is a story of people making the choice to disobey and rebel, while at the same time depicting the need for the rebellion to become organised, with disciplined soldiers who follow orders. This is brought out vividly by the infighting and factionalism inherent in small, revolutionary and clandestine politics, and by the contrasting of Luthen’s chessboard manipulation against the spontaneous resistance of the people’s of Ferrix and Ghorman. What is the cost of this process, and what risks does it pose for those who truly wish to create a better world?

Session 3: Vader Wouldn’t Tolerate That Shit (9 October 2025) Star Wars has long had issues with its depiction of women. While Princess Leia is a strong character, she’s also the only woman in the Original Trilogy to have more than a few lines, while Padme spends much of the Prequels playing the role of worried (and later abused) romantic partner. In more recent years, the reaction of some fans to characters such as Rey, Reva and Osha/Mae has been at times apoplectically misogynist. But now, Andor has given us a wide range of fully realised women characters, both heroic and evil. How has the show contributed to the depiction of gender relations in the Star Wars Galaxy, and how successfully has it challenged the failings of previous Star Wars media? The Empire has always been portrayed as patriarchal, but how has that evolved over time? What does Mon Mothma’s scepticism of a traditional Chandrilan wedding tell us about changing Galactic social mores? What is our reaction to the first live action on-screen LGBTQ+ characters, Vel and Cinta? How does Kleya and Luthen’s relationship subvert expectations of father/daughter and master/apprentice? How satisfying is Bix’s arc of recovery from Imperial-inflicted trauma? Do we sympathise with Dedra hitting the ISB glass ceiling? Andor is unprecedented for the level of seriousness and realism it brings to Star Wars, and this including sex work and a brutal scene in which we see, for the first time in the franchise, a portrayal of attempted sexual assault. The reaction of some reveals the ignorance of much of the fandom towards instutionalised gender-based violence. How should we feel about this, and about scenes of partner violence as Syril breaks up with Dedra? And just what in the Freudian Hell is going on between Eedy, Syril and Dedra?

Session 4: “What is in our Ground?”(16 October 2025) In our third session we’ll discuss Andor’s depiction of extractive colonialism. From the strip mining of Kenari to the destruction of Ghorman in search of Deep Substrate Foliated Calcite. How does the use of Diego Luna’s natural accent and images of indigeneity in his childhood help us to understand the character of Cassian Andor? How does the plight of the Aldhani compare to the Highland Clearances? How does Luthen’s shop and cover story reveal the cultural extractivism and historical plundering of alien and past cultures by a jaded elite in the Imperial core? How does extractivism drive the authoritarian nature of the Empire? How does its colonial exploitation in order to build the Death Star mirror the development of nuclear weapons by the empires of Earth?

Session 5: “If we can fight half as hard as we’ve been working” (23 October 2025) Andor is the first piece of Star Wars media to truly depict the life of the Galactic working class. The show really constructed Ferrix City as a red brick town evoking industrial northern England. Little moments of life on this corporate controlled planet demonstrate the solidarity on which this tight-knit but diverse community is built. Narkina 5 is a new kind of horror that has lingered with many viewers precisely because it is a prison based on the ultimate expression of the alienation of work under capitalism, by way of the Panopticon. And Mina Rau is a vast plantation producing food for the Empire on the back of undocumented and persecuted labour. But there are also other classes in Andor’s Galaxy, not only restricted to traditional industries. We also get to see the life of the Corpos, privatised jobsworths and time servers, the exception of Syril’s zeal, as well as the life of an office drone at the Bureau of Standards, the artisans catering to elite tastes of Ghorman and finally the Succession-esque office politics of the ISB. How does Andor draw on the Star Wars trope of the posh English Imperial to develop a rich set of allusions through character’s accents, depicting a Galactic version of these islands that also features many Scottish, Irish and working class English voices? What does Narkina 5 have to tell us about our era of Carceral Capitalism and the politics of prison abolition? What do the existence of planetary visas and privatised star systems tell us about the nature of the Galactic political-economy? What is our class analysis of life in the Galactic Empire?

Session 6: “You Appeared When I Needed You.” (30 October 2025) In our final session, we will look at two complex issues:·         The role of the Force, and Destiny, in Andor – and therefore its relationship to the rest of the Star Wars franchise, including its mysticism. How is the story moulded by the fact that it is a prequel to Rogue One, and that we know Cassian is fated to die? What does it mean that the best piece of Star Wars media is one which features almost no Force sensitive characters? How does the more realistic portrayal of the morally grey nature of armed rebellion affect our image of the Light Side of the Force, and Star Wars as a simple story of good vs. evil? How do we interpret the scene with the Force Healer? ·         The role of meta issues of Andor’s production, and its relationship to the real-world side of the Star Wars Franchise. How did the show’s makers turn the constraints they faced, with limited time to tell a story that itself had a pre-written ending, into engines of creativity? How do we interpret Andor as a serious work of art while also being a piece of corporate franchise entertainment? What does the history alluded to in Luthen’s shop reveal about Andor’s approach to “canon” and lore? Is Andor inherently left wing art, whether or not that was Tony Gilroy’s intention? Is it possible for one of the largest entertainment corporations in the world to produce a credible work about revolutionary anti-fascism, or is it mere culture industry sublimation? What do we feel is the hope of the future of Star Wars under Disney ownership in the wake of Andor?

Ground Rules:

1. We’re all part of the same rebellion: This is a politically radical, inclusive discussion group. That means we don’t have to agree on everything, but we do have to commit to being against all forms of oppression based on class, gender and gender identity, race/ethnicity/nationality, disability, physical appearance or age. We also need to be understanding of the fact that people will be coming from different political backgrounds and traditions. We commit to conducting the discussions in an inclusive, non discriminatory and respectful manner.

2. Come near me again and I’ll have you in a cage on the outer rim: Don’t be a creep to your fellow group members. Respect people’s boundaries.

3. That’s how we’re gonna win. Not fighting what we hate, saving what we love: All Star Wars is good Star Wars for somebody. You don’t have to like, or consume, all Star Wars media to participate. But don’t let your feelings about other Star Wars beside Andor lead you to the Dark Side. While it’s fine to have criticisms of other Andor and other Star Wars media, don’t express these too vitriolicly. If it’s not for you then it’s not for you.

4. The Sacred Texts! None of the suggested additional material is mandatory. It’s offered as an optional way to shed light on the issues under discussion and hopefully enhance your experience of the group. All you need is to have watched Andor and Rogue One.