Within the press notes for Andor, the newest Disney+ Star Wars collection, star Diego Luna says he was drawn to reprise his position from Rogue One as Insurgent spy Cassian Andor “as a result of I used to be informed it is going to be a 12-episode collection that can be as very similar to a movie as it may be.” Later, he says, “It seems like we’re making a really lengthy film.”

It is a depressingly frequent sentiment in TV as of late, suggesting one or two issues. Someway, 20-plus years after The Sopranos elevated the thought of what tv storytelling could possibly be, movie individuals are nonetheless on some stage embarrassed by the thought of working in TV, and/or(*) they merely don’t perceive the ways in which the 2 mediums are totally different — nor that “a really lengthy film “is nearly by no means a good suggestion.

(*) To not be confused with this present’s title character.

Until you might be David Simon or have labored extensively with David Simon, you might be virtually actually setting your self as much as fail with this strategy. A season of tv was not designed to be an eight-to-22-hour film. Tv having particular person episodes is a function, not a bug. Whether or not you might be telling one huge story or a collection of smaller ones, episodes are supposed to operate as particular person narrative items. Characters have particular goals which might be on some stage resolved inside that unit, and the motion is finest served constructing to some sort of climax, even when that climax is in the end “To Be Continued.” There are methods to do that which might be virtually completely serialized (once more, see The Wire). There are methods to do that which might be largely standalone (your typical well-made cop/physician/lawyer procedural). And there are methods to mix the 2 (which Breaking Unhealthy and The Sopranos, amongst others, did expertly), in order that there are loads of distinct, memorable episodes that operate as their very own entertaining factor, whilst they’re servicing an enormous overarching plot.

The nice majority of people that discuss the “we consider our season as a 10-hour film” discuss are typically screenwriters who haven’t any earlier expertise in tv. Typically, they’re taking an concept they couldn’t promote as a function movie and easily elongating it, with none thought or care given to how tedious and repetitive a film’s three-act construction feels when stretched over that period of time. (Even famously lengthy movies like Lawrence of Arabia or The Godfather Half II knew to cap themselves at a shade over three hours.) However even some TV veterans can fall into this lure, just like the showrunners of the assorted Netflix Marvel collection, who stored kneecapping themselves by being unable or unwilling to pause the principle plot of their seasons and simply present the heroes being heroes for an hour.

But when that is such a widespread plague, you might marvel, why am I choosing on poor Diego Luna and his collaborators? First, the 4 episodes of Andor given to critics for evaluate are a very irritating instance of this strategy, with the format continuously undercutting the attention-grabbing issues the collection is doing. Second, you’ll assume that the folks at Lucasfilm would by now perceive the worth of creating tv that truly features as tv.

The Mandalorian kicked off each the existence of Disney+ and this new section of the Star Wars franchise. It’s unquestionably a TV present. Every week, Mando and Child Yoda Grogu go to a special planet and have a special journey that’s largely resolved over the course of that week’s installment. Even when the seasons construct to a extra serialized climax, the person chapters nonetheless have some sort of self-contained mission for our heroes.

This was adopted by The E book of Boba Fett, which did some notable particular person episodes but additionally blurred the traces extra usually about the place one a part of the story was meant to finish and one other was meant to start. (It had different issues, too — notably that it had no purpose to exist as soon as Mando had been given every little thing that followers as soon as beloved about Boba Fett — however the construction didn’t assist.) Obi-Wan Kenobi was fairly actually based mostly on a film concept that Lucasfilm couldn’t make for some purpose or different, so it acquired become a six-hour blob of (largely nonsensical) plot.

If Mandalorian isn’t universally beloved by its viewers, it’s as shut as something can come on this fractured pop-culture age. Its success ought to have taught the keepers of the franchise a lesson or three about how you can inform tales for TV versus films.

And but.

Now comes Andor, a Rogue One prequel created by that film’s co-writer Tony Gilroy. Gilroy is a hell of a screenwriter. However apart from a consulting producer credit score on a few seasons of Home of Playing cards (a present that always fell prey to pretending it was only a lengthy film), Gilroy has no expertise in TV, and it reveals. There’s barely any form to those first 4 episodes. Three of them don’t even construct to any sort of actual climax, however simply appear to cease at a random level, as if Gilroy, director Toby Haynes, and their editors shrugged and stated, “Eh, no one will care as soon as the autoplay operate activates.”

The primary two episodes are particularly missing in any sort of considerable kind. Maybe not surprisingly, Disney+ is launching the present this week with the primary three episodes, because the third is the one the place issues lastly begin occurring, in addition to the one one that truly has one thing that seems like a conclusion to 1 section of the story. 

It’s a disgrace, not solely as a result of Luna’s Cassian Andor occupies an attention-grabbing place throughout the bigger Star Wars universe, however as a result of Andor will get off to a promising begin earlier than issues rapidly start to tug.

Rogue One was the primary Star Wars movie to be solely tangentially linked to the Skywalker household. As Cassian leads a group of mismatched, emotionally broken allies on a suicide mission to acquire the plans for the primary Demise Star, the film takes on a a lot darker tone than those about Luke, Anakin, and Rey, whereas nonetheless demonstrating the aptitude for journey and informal world-building that made the franchise so big to start with.

Andor appears to be pushing this even additional at the beginning. It’s 5 years earlier than the occasions of Rogue One. Cassian isn’t but a part of the Riot, however merely a person with a tragic previous making an attempt to get by underneath the tough rule of the Empire. The present opens with a sequence owing extra to Blade Runner than Star Wars, as Cassian visits the crimson gentle district of a corporate-run mining planet, strolling fastidiously via a wet night time, questioning a intercourse employee at a brothel in regards to the whereabouts of somebody he as soon as knew, and getting right into a nasty struggle when two different clients take a dislike to his look. (Somebody will later say, “They clearly harassed a human with darkish options.”)

However as soon as Cassian returns to his present dwelling on one other industrial planet, Ferrix, issues start to float. We meet different colourful characters: Cassian’s adorably anxious droid B2EMO (the franchise’s most on-the-nose identify since Elan Sleazebaggano tried to promote dying sticks to Obi-Wan in Assault of the Clones); his mechanic buddy Bix (Adria Arjona); his adoptive mom Maarva (Fiona Shaw); Bix’s mysterious buying and selling companion Luthen Rael (Stellan Skarsgård); and Syril Karn (Kyle Soller), a company safety officer who’s mainly the Star Wars equal of a mall cop determined to be handled like the real article.

It’s an attention-grabbing group of supporting characters. Soller is fairly nice as we watch Syril wrestle with the huge gulf between his heroic fantasies and the uglier realities of life within the Empire, and Stellan Skarsgård is having himself a palpably nice time enjoying a chameleonic determine like Luthen. But Gilroy struggles to justify the necessity to give Cassian Andor his personal collection. Luna’s wonderful, however Cassian wasn’t one of many individuals who most popped off the display screen in Rogue One. Right here he comes throughout as a extra muted Han Solo, quietly in it for himself, whilst folks like Luthen maintain making an attempt to recruit him for extra vital issues just like the Insurgent Alliance. He’s virtually completely reactive, following the agendas of different folks. We all know the place that is all going, and whereas that’s not routinely a crippling drawback (see Higher Name Saul), Cassian in these early episodes doesn’t appear price such a protracted origin story.

Like Star Trek: Picard, Andor appears a case of a principally family-friendly franchise taking over the superficial trappings of extra grownup storytelling — along with the brothel, there are phrases that Hayden Christensen was by no means allowed to say — with out feeling appreciably extra refined in storytelling or theme than what got here earlier than. And like Picard, Andor rapidly will get slowed down in an ongoing plot it doesn’t fairly know how you can break down from one episode to the subsequent.

It’s promising that the third episode will get issues transferring and appears extra targeted total. (It’s additionally by far the perfect use of flashbacks to Cassian’s traumatic childhood.) The fourth episode then shifts into a completely new section of issues, with a change in locale, a number of new characters — notably Genevieve O’Reilly reprising her Rogue One position as secret Insurgent chief Mon Mothma — and a brand new goal involving a heist. However even that one meanders fairly a bit and once more stops at a totally random level.

This entire “12-hour film” mess began as a result of movie studios have largely stopped making entire genres, notably these for/about adults who don’t have superpowers. Consequently, the individuals who wish to inform these tales should do it on tv. However the upshot is that each mediums are diminished. Films are missing selection, whereas TV is now being flooded by reveals which might be too lengthy, too sluggish, and too amorphous, solely as a result of they have been initially supposed to be informed in a a lot tighter kind. And these reveals are made by individuals who act like they’d a lot moderately be doing this for the massive display screen. 

Whereas we’re nonetheless totally on Ferrix, Gilroy and Haynes introduce a anonymous character whose job is basically to be the native bell ringer. He has no spoken dialogue, but we see him getting ready for his twice-daily responsibility with nice vigor and pleasure. It’s maybe the franchise’s finest use of such a minor character because the rancor keeper cried in Return of the Jedi, providing a way that every one the folks on this galaxy far, far-off have their very own internal lives and tales, even when we’re principally specializing in the identical group over and over. However as the person who alerts the beginning and finish of each day on Ferrix, he additionally sarcastically represents the sort of construction that Andor is so sorely missing.

The primary three episodes of Andor premiere Sept. 21 on Disney+, with extra episodes releasing weekly. I’ve seen the primary 4 of 12 episodes.