Watching Andor again and the architecture is unmistakable Dumas, Balzac even Zola. What we have stumbled onto is a masterpiece of literary archaeology: Gilroy took the moldering corpse of 19th-century French literature, jacked it full of Imperial credits and hyperdrive fuel, and reanimated it as the most politically sophisticated piece of science fiction television ever broadcast into the global nervous system.
Here’s what Tony Gilroy figured out that most Hollywood minders never will: Joseph Campbell’s monomyth is malware. The Hero’s Journey isn’t some universal narrative DNA – it’s a 20th-century academic construct that’s been strip-mining storytelling for decades, reducing complex human experience to a repeatable algorithm optimized for mass consumption.
Joseph Campbell’s monomyth became malware, but not because Campbell was wrong – because he was catastrophically misunderstood. The Hero’s Journey wasn’t supposed to be a screenwriting template. It was Campbell’s attempt to map humanity’s collective unconscious relationship with the Other -, our species-wide neurosis about encountering what lies beyond the symbolic order of our known world.
Campbell was doing depth psychology, not narrative engineering. He was tracking how human consciousness processes encounters with the radically foreign, the genuinely transformative, the actually dangerous. The “journey” wasn’t a plot structure – it was a cognitive archaeology project, digging into how minds cope with ego dissolution and reconstitution.
But Hollywood – and by extension, American culture – completely borked the translation. They turned Campbell’s psychological cartography into a content-generation algorithm. Worse, they weaponized it as ideological infrastructure, using the “assault on the citadel” climax to reinforce what Francis Fukuyama would later theorize as the End of History – the notion that liberal capitalism represents humanity’s final evolutionary stage, that all narratives ultimately resolve into American-style individual triumph over systemic opposition.
The monomyth got conscripted into neoliberal mythology: every story became about exceptional individuals conquering institutional barriers through personal transformation, rather than about collective struggle to transform the institutions themselves.
The Collective, here, is not merely a loosely organized group with shared political aims, but more like a living field of unconscious participation—a web of inherited patterns, desires, and symbols that bind individuals into something larger than themselves. This broader meaning recognizes that most of what joins us together is unspoken: the collective unconscious of myths, fears, rituals, dreams, gestures. A collective is not always organized; often, it is discovered—in the sudden recognition of something deeply familiar in someone else, or in the synchronicity of shared intuitions.
In this sense, the collective isn’t just a call to action. It’s a fog we’re already breathing. Campbell’s exploration of how consciousness encounters alterity became a mass-production system for generating the same story about American exceptionalism, over and over again.
But Gilroy asked the killer question: what were stories before the Frankensteinazation of Campbell? What narrative operating systems were running before some mythology professor at Sarah Lawrence decided to refactor all human storytelling into a single subroutine?
The answer, of course, is the 19th-century novel – that magnificent, unwieldy, politically dangerous art form that emerged when writers realized they could use fiction to reverse-engineer entire societies. Balzac, Zola, Hugo, Dumas, Dickens, Tolstoy, Dostoevsky – these weren’t just entertainers, they were social hackers, using narrative code to expose the exploits and vulnerabilities in the power structures of industrial modernity.
Andor represents Gilroy’s systematic deconstruction of Campbell’s hero template and its replacement with something far more subversive: the realist tradition’s understanding that individual psychology is always political, that personal transformation happens through social struggle, and that true heroism emerges from collective action rather than mythic destiny.
Again, The collective is also the rust in the machine—what resists total design. Every time a new system, platform, or piece of technology is thrown at human beings, the collective reasserts itself in subtle, chaotic ways. It reclaims, repurposes, wears down. People modify the system by misusing it, by hacking it with sentiment, myth, miscommunication, and habit.
This isn’t regression—it’s the return of the commons in disguised forms. Not the idealized commons, but a lived, messy version: improvised solidarity, inside jokes, shared grief, borrowed dreams. It’s how forums turn into families. How memes become folklore. How bureaucracy decays into ritual.
The collective isn’t the revolution; it’s the aftermath that refuses to go away. It’s not designed—it seeps.
Instead of Campbell’s misunderstood circular journey from ordinary world to magical transformation and return, Andor runs on the realist novel’s linear progression: social analysis → political awakening → revolutionary commitment. Cassian doesn’t discover he’s special – he discovers he’s connected, part of vast networks of oppression and resistance that existed long before his story began and will continue long after it ends.
This is why Andor feels so different from other Star Wars content. It’s not running hero mythology – it’s running political fiction, using the narrative architecture that gave us Les Misérables, Germinal, and War and Peace.
Balzac & Andor: Same Story Engine, Different Skins
Balzac was doing prestige HBO drama before HBO. He wasn’t writing “novels” so much as he was creating a shared universe — think of La Comédie humaine like a 19th-century MCU, except instead of superheroes, you get landlords, mistresses, financiers, washed-up nobles, and ambitious clerks. What links them all? Social mobility as a bloodsport.
Andor, despite being set in a galaxy far, far away, picks up right where Balzac left off — it just swaps top hats for stormtroopers and drawing rooms for data farms. Both use classic character tropes to explore how big, impersonal systems grind people down — or how some people learn to game the system back.
Think Rastignac — the original prestige drama social climber. He sees how the game is rigged and decides to rig it back.: Syril Karn is a strait-laced version of Rastignac — less suave, more obsessive. He’s the guy who takes the manual way too seriously and still can’t get promoted. But he’s still trying to ascend, just like a Balzacian antihero.
Characters like Madame de Beauséant are prisoners of their inherited status. They can’t really move, because movement = loss of identity.: Mon Mothma — draped in silk and suffocated by it. She’s “legacy code,” living in a golden cage, and every attempt to act comes with a social cost.
Vautrin — part crime boss, part secret police, part revolutionary. The guy who knows where all the bodies are buried, and who’s probably buried a few himself.: Luthen Rael. Smiles like a shopkeeper, talks like Lenin with a laser. The man is a walking contradiction, running multiple scripts at once — just like Vautrin.
Countless bureaucrats and clerks moving paper, chasing promotions, enforcing nonsense. Their power is real, but their authority is borrowed. The Pre-Mor Authority. It’s the DMV with guns. These people think they’re the Empire. The Empire barely knows they exist.
Lucien de Rubempré in Splendeurs et misères des courtisanes — poetic, talented, and absolutely chewed up by Paris. Kino Loy. Gets a whiff of hope, takes a leap… and can’t swim. That’s the show right there.
What Balzac and Andor both show is that there are no clean hands. If you want to do anything in these systems — whether you’re toppling them or just surviving — you have to touch the filth. Even the “good guys” are compromised. Especially them. And both worlds are obsessed with resource flows — be it money, information, social access. These aren’t “subplots.” They’re the real story. Who gets to move things? Who gets cut off?
Balzac would’ve written Andor if he’d been alive today — not Star Wars, not the Skywalkers — just the guys in the background, pushing paper, sweating deadlines, taking bribes, hiding secrets, breaking rules, breaking down. He’d have followed Mon Mothma’s bank account like it was a loaded gun. He’d have called Syril Karn’s mom twice to hear her scream.
Andor is Balzac with blasters. It’s not sci-fi. It’s 19th-century literary realism wearing a helmet.
Prestige TV’s Oldest Trick — The Systemic Human Lab
Zola wasn’t telling stories. He was cracking people open to see what the system had done to them. His “plots” are really just pressure tests: you drop a person into a mine, a factory, or a slum, and you watch them break. Or mutate. Or explode. You’re not reading to find out what the character chooses — you’re reading to find out what the environment allows. It’s character as test subject, not hero.
Andor picks that up perfectly. It’s the first Star Wars entry that looks at people the way Zola did — as environmentally programmed, socially conditioned, and systemically trapped. It’s not about what characters want, it’s about what the machine wants from them.
In Germinal, coal miners aren’t characters, they’re slowly breaking bodies. Men are cogs. Hunger and exhaustion are the only character arcs. Narkina 5 is a literal assembly line of this trope. The white floors, the point system, the boots — everything says: “You are not a person here. You are throughput.”
Plenty of civil servants in his work who believe in order so much they forget about people. They enforce ruin with a clean conscience. Dedra Meero. She’s so into catching rebels she doesn’t notice she’s become a monster. Or maybe she does and just doesn’t care.
His bourgeois characters often have everything except freedom. They drink, cheat, lie — but mostly to maintain appearances. Their lives are very long cages. Mon Mothma. She’s got chandeliers and a husband who collects art, but her whole life is puppeteering money through backchannels to not get killed.
He showed whole neighborhoods working as a single organism — gossiping, helping, punishing, feasting, starving — usually all at once. Ferrix isn’t just a town. It’s a consciousness. That funeral scene? It’s not just moving — it’s how resistance thinks itself into being.
The collective unconscious, hive mind, and commons all find raw, corporeal expression in Zola’s naturalist novels—especially in Germinal—long before they were formalized by Jung, sci-fi, or political theory. In Zola, the crowd is not metaphor; it’s material. His characters act not simply out of reason or self-interest, but from something deeper—ancestral memory, social instinct, biological despair. The miners in Germinal embody the collective unconscious not as a set of abstract archetypes but as a living memory encoded in muscle, hunger, rhythm, and rumor. Their uprising is not planned—it erupts, as if memory itself rises through them, not unlike a trauma resurfacing.
This subterranean convergence of minds—formed in the dark of the mines, in cramped homes, in glances and gossip—anticipates the idea of the hive mind, but not the sterilized, AI-flavored version popular today. Zola’s hive mind is anarchic and organic: it bleeds, it hungers, it stinks of coal and sweat. It is both solidarity and suffocation. You don’t “log into” it—you are born into it.
And then there’s the commons—not the nostalgic, bucolic field of pre-industrial fantasy, but the industrial commons: infrastructure as shared destiny. The rail, the mine, the factory floor. Zola understood that when land and time are carved up by capital, the people below still find ways to cohere. They borrow from each other, fight with each other, survive together. The commons becomes not property but proximity. The shared condition of being ground down.
Together, these ideas form Zola’s unspoken theory of mass life: the human swarm, stripped of illusion, still manages to feel, to revolt, to remember. What Jung spiritualized, Zola anatomized. What sci-fi abstracted, he dragged into the mud. And what modern culture forgot—that the crowd is not always a danger, sometimes it’s a dream—we can still recover in his pages.
The Broken Origin That Isn’t a Motivation
In Émile Zola’s world, people don’t have “trauma arcs” because they don’t need narrative justification to suffer. His characters are born into systems that manufacture pain—pain that doesn’t need a flashback to be valid. Their parents drank, or worked themselves into early graves in mines or factories, or were crushed by poverty—and so they do too. It isn’t individual failure, nor some private drama that makes them tragic. It’s structural inheritance. The wound is social, not secret.
Compare that to contemporary storytelling, where trauma is often used as a sort of psychological origin myth—a “backstory” that provides motivation. This is the logic of what we might call neoliberal blankslatism: the myth that we are born blank and become who we are through discrete, explainable moments. In this model, the hero’s journey isn’t derailed by trauma—it’s powered by it. The character overcomes, grows, becomes exceptional. Their past is tidily contained within a therapeutic arc. Trauma becomes productively legible.
But Zola, and shows like Andor, offer a counterpoint. Cassian’s past on Kenari isn’t there to explain his behavior in some emotional algorithm—it’s there to show how trauma is a system install. It’s the Empire writing itself directly onto the body. The destruction of Kenari isn’t a sad memory to be revisited and overcome—it’s the invisible architecture of his life. It’s why his voice is wary, why his posture is tense, why trust doesn’t come easy. There is no “why” in the way neoliberal storytelling wants. There is only because.
Zola’s characters aren’t motivated—they’re implicated. They don’t seek redemption arcs; they seek bread, dignity, sometimes just a warm place to collapse. Andor inherits that ethical terrain. It doesn’t use trauma to make its characters exceptional. It uses trauma to show how systems replicate themselves, how violence doesn’t end but echoes. It reminds us that some origins are not stories—they’re blueprints. And not everyone gets to write their way out of them.
Montage = Emotional Compression
Where Zola takes pages to show someone disintegrate under poverty, Eisenstein takes a few shots. A bull slaughtered. A protest trampled. The viewer connects the dots. That’s how Andor is cut too. Visual contrast isn’t just style — it’s critique.
• Cassian walking barefoot in a white cell.
• Mon Mothma, silent in a gold room.
• Dedra, smug in a control booth.
• Bix, broken in a cage.
None of them are in charge. They’re all in different versions of prison.
George Lucas was always more Eisenstein than people realized — especially with the rhythm of Star Wars. But he used that power for myth: fascism as archetype. Andor strips that away. It’s not Vader vs. Skywalker. It’s labor, money, trauma, and surveillance vs. survival, decency, and slow-burn courage.
If you love Andor, you already love Zola — you just didn’t know his name. You’re not watching a story about a man with a destiny. You’re watching people try not to drown in a system designed to flood. It’s less about hope and more about bandwidth: who gets to act, and who’s been programmed to shut up.
The Myriel Protocol
Victor Hugo built moral operating systems. Les Misérables is less a novel than a cathedral of human contradiction, where every subplot carries weight and every minor character hums with ethical potential. When Andor works, it does so because it understands that rebellion is not just logistics — it’s spiritual infrastructure. It’s not just tactics. It’s grace under oppression.
Bishop Myriel’s act — giving Valjean the candlesticks — isn’t just charity. It’s a jailbreak. He doesn’t forgive a thief; he reprograms a soul. He hacks the moral firmware of the entire justice system with one act of unchecked compassion. Privilege escalation. From convict to saint in a single, unauthorized command.
In Andor, we see this same subroutine in Maarva’s funeral. Her words aren’t just inspiration — they’re malware. “Fight the Empire” isn’t a slogan. It’s exploit code — crashing the Empire’s control system, bypassing years of fear conditioning. The Empire tries to treat Ferrix like a static backdrop. Maarva turns it into a rebel bootloader.
This is the Hugo trope: Grace is a system exploit.
A single act of unreason can rupture the most rational tyranny.
Hugo’s sewers weren’t just symbolic. They were infrastructure for moral transformation. A space beneath society where garbage — and people — are reprocessed. Not erased, not redeemed, but converted.
Ferrix plays this role exactly. It’s not just industrial; it’s alchemical. Droids are stripped for parts, and those parts become martyrs. Imperial junk becomes weapons. Maarva becomes a brick.
TV Tropes might call this “Crapsack World, Holy Ground.” It’s the sacred hidden inside the wreckage.
Golems and Ghosts in the Machine: From Hugo to Andor
Where Hugo gave us Quasimodo defending the cathedral, Andor gives us K-2SO—not just a repurposed enforcer droid, but a golem: a creature created by the regime, imbued with its logic, now turned against its makers. He’s not a rebel by choice. He’s a rebel because the system failed to maintain control over its own tools. Like Valjean, K-2SO’s nobility isn’t innate or divinely granted—it’s stolen, carved out of servitude, kludged together from code and chance. And when he dies—when he sacrifices himself for Cassian—it isn’t a shutdown, it’s a manufactured martyrdom. A holy death of scrap metal. The sainthood of surplus.
This is Andor’s theology: broken things can be sanctified, but only in action—not through purity or bloodline. Nobility doesn’t descend; it is reclaimed from the wreckage. That’s Hugo’s legacy in the series—not in aesthetic, but in spiritual structure.
And then there’s Javert, Hugo’s original recursive cop—a man who doesn’t suffer from cruelty so much as from logic. He is a closed system, an ethical loop. He cannot tolerate contradiction because contradiction is not an input he’s designed to handle. So when Valjean shows him mercy—grace without calculation—his moral OS crashes. His suicide is a fatal exception error. Grace is his system crash.
Andor updates Javert into Dedra Meero, but she is not merely a zealot. She is a next-gen upgrade: refined, optimized, terrifying. Where Javert was animated by moral absolutism, Dedra is animated by pattern recognition. She sees in gaps and glitches—silences in surveillance, anomalies in scheduling, a missing voice in a radio channel. She doesn’t enforce the law, she anticipates deviation. A bureaucrat trained in algorithmic paranoia, she’s the child of total information awareness.But like all systems obsessed with noise, she misreads the signal.
She sees rebellion as virus, not becoming. She analyzes Ferrix like data, but she can’t model solidarity. The town isn’t a threat node. It’s a collective consciousness under compression. That’s why she fails. Like Javert, she encounters something her firmware can’t parse: human coherence that emerges without command.
This is what Deleuze calls a line of flight — when the system breaks open, not from destruction, but from becoming something it can’t contain.
In Deleuzean terms, Dedra is an overcoded desiring-machine: her drives are real, but fully integrated into an apparatus that redirects all passion toward control. She doesn’t lust for power in the classic sense—she is power, sublimated into data discipline. Her affectlessness is the mark of an imperial machine that has replaced cruelty with efficiency. She doesn’t need to brutalize to win—she just has to pre-empt the possibility of resistance. If Dedra is the paranoiac of control, Luthen is the schizo-strategist of rupture. He doesn’t represent rebellion. He’s a vector — spreading revolutionary potential like a virus with no center.
He’s not driven by ideology, but by subtractive desire: to burn himself out so something else can rise. He doesn’t make plans; he deterritorializes empires.
“Burn my life to make a sunrise I’ll never see” isn’t noble sacrifice — it’s code suicide. He runs himself as a temporary process. In Deleuze’s terms, he becomes-imperceptible: always shifting between roles, textures, identities. A gallery owner. A rebel mastermind. A ghost in the luxury machine.
He’s not a character. He’s a hack.
The Revolution Will Be Refactored:
The tragedy—and genius—of Andor is how it shows us that these systems don’t collapse from outside pressure. They collapse when their own tools—droids, informants, petty bureaucrats—begin to misfire, when their own logic becomes so totalizing that it creates anomalies: people who should be broken, but aren’t.
In this sense, Andor is Hugo turned inside out. It offers no cathedral, no God, no final judgment. Only the haunted machinery of empire, and the ghosts it accidentally generates. Rebels who are forged, not born. Saints of rust and sabotage.
Andor is Hugo with a rootkit. It doesn’t tell stories. It rewrites functions. Revolution, in this frame, isn’t toppling empires — it’s interrupting their scripts. Grace, sabotage, collective care — these aren’t narrative moments. They’re system exploits. What Hugo showed in 1862, and what Andor resurrects now, is this:
The oppressed don’t just fight back.
They rewrite the code of reality itself.
THE DUMAS CONNECTION
Before there were movie serials, before Flash Gordon was dodging Ming the Merciless or Buck Rogers was fighting in the 25th century, Dumas was already perfecting episodic storytelling. Every cliffhanger, every “meanwhile back at the hideout” scene switch, every moment where heroes have to improvise their way out of death traps—that’s all Dumas technology.
Andor takes that foundation and asks: what if we made a Dumas serial where the Empire actually feels like an empire? Where resistance has real costs and victories don’t come with triumphant music? Where the Count of Monte Cristo is just another prisoner who got lucky and angry enough to fight back?
The result isn’t space fantasy—it’s Dumas realism. All the adventure, none of the romanticism. Swashbuckling for the surveillance age.
Alexandre Dumas is the godfather of serialized adventure. Before Flash Gordon was rocketing through space or Buck Rogers was fighting the future, Dumas was already building the DNA of episodic heroism with The Three Musketeers and The Count of Monte Cristo. Every Saturday matinee serial, every cliffhanger ending, every “will our heroes escape this death trap?” moment traces back to his revolutionary storytelling blueprint.
If Hugo gives us the moral backbone, Dumas provides the action playbook. Andor’s heists and spy networks feel like classic Musketeer operations scaled up for galactic warfare. Luthen channels serious Monte Cristo energy—part vengeful mastermind exploiting Imperial corruption, part Aramis-style priest-spy running his underground railroad. The constant tension between Cassian going lone wolf and needing his crew (Vel, Cinta, Kleya) is pure Musketeer dynamics, just with fascist stormtroopers instead of Cardinal Richelieu’s guards.
Andor essentially takes Hugo’s moral framework and runs it through Dumas’ adventure engine. All the classic Hugo elements are there—the Parental Substitute who shapes the hero’s conscience (Myriel/Maarva), the urban underground as literal and metaphorical refuge (Paris sewers/Ferrix foundry), the Tragic Monster driven by duty (Javert/Dedra)—but they’re deployed with Dumas’ signature cell-based resistance structure.
Dumas wasn’t just writing escapist fiction—he was encoding revolutionary tactics in swashbuckling stories, creating templates that would define adventure entertainment for the next century. Every Flash Gordon serial borrowed his cliffhanger pacing. Every Buck Rogers episode used his “heroes on the run” structure. Andor is basically Dumas for the surveillance state era.
The classic Dumas revenge plot: Wrongful Imprisonment → Prison Education → Systematic Payback. Cassian Andor is Edmond Dantès without the fancy disguises and infinite wealth.
But here’s the key difference—Dantès got to play aristocrat with his treasure and secret identities. Cassian’s stuck doing guerrilla warfare from the ground up. Where the Count exploited individual villains’ personal weaknesses, Cassian has to take down an entire galactic bureaucracy. His “prison education” on Narkina 5 isn’t learning languages and swordsmanship from a wise old prisoner—it’s figuring out how to hack Imperial logistics from the inside of a labor camp designed to break people.
The Aldhani heist perfectly captures this evolution. It’s not personal revenge—it’s economic warfare. They’re not just stealing money; they’re creating administrative chaos that ripples through the Imperial system. Use the Empire’s own greed against it, trigger internal audits, make the bureaucrats start eating each other. Classic Dumas strategy: never fight the system head-on, make it destroy itself.
This is the Monte Cristo formula updated for modern resistance movements: turn systemic oppression into systemic sabotage.
Dumas invented the superhero team decades before comics existed. The “All for One” principle isn’t just friendship—it’s operational security.
Luthen’s rebel cells work exactly like D’Artagnan’s crew, just with dead drops instead of tavern meetings and encrypted communications instead of sword signals. Vel and Cinta’s relationship mirrors the way Musketeers had to balance personal bonds with mission security—sometimes you can’t tell your closest allies everything because the network depends on compartmentalization.
Mon Mothma’s dinner parties are basically diplomatic espionage, like when the Musketeers had to navigate court intrigue. The human cost is constant—Bix’s torture, Nemik’s death, Cassian’s isolation—because in Dumas’ world, heroism always comes with a price tag.
Classic Dumas trope: the Old Master dies passing wisdom to the Young Hero. Abbé Faria teaches Dantès everything, then dies. Athos mentors D’Artagnan, knowing his own best days are behind him.
Andor follows this pattern ruthlessly. Maarva shapes Cassian’s moral code, then her death becomes the catalyst for Ferrix’s uprising. Kino Loy shows him how to organize mass resistance, then stays behind so others can escape. Luthen keeps downloading strategy and resources into Cassian, but you know that mentorship is building toward inevitable sacrifice.
Each mentor transfer creates a more capable but more isolated hero. Cassian becomes increasingly effective and increasingly alone—the price of absorbing all that hard-won knowledge.
Here’s what separates Dumas from standard swashbuckling: his heroes aren’t just skilled, they’re smart. Athos doesn’t just fence well—he reads people and situations. Monte Cristo doesn’t just want revenge—he engineers social destruction with scientific precision. The famous “Queen’s Diamonds” plot from Three Musketeers is basically an elaborate con game with international implications.
Andor strips away the romantic glamour but keeps the strategic thinking. When Cassian infiltrates the garrison or escapes Narkina 5, he’s not relying on luck or individual heroics—he’s exploiting system vulnerabilities the way Dumas heroes always did. No magic swords or mystical powers, just intelligence, planning, and the willingness to sacrifice everything for the cause.
“All for one, one for all” isn’t a friendship motto—it’s a tactical doctrine.
The MacLean Gambit: How Andor Hijacks the Assault on the Citadel
So far I’ve been talking about the show’s 19th-century realist backbone, but I am missing the crucial middleware layer that makes it all function as television. Andor isn’t just Balzac in space – it’s a 19th-century realist novel wrapped in pure MacLean plot architecture.
MacLean perfected the “assault on the citadel” narrative for the postwar era. The Guns of Navarone, Where Eagles Dare, Ice Station Zebra – these weren’t just adventure stories, they were engineering blueprints for how small teams of specialists could infiltrate seemingly impregnable systems and bring them down from within. MacLean understood that modern warfare wasn’t about individual heroes; it was about technical expertise, operational planning, and the brutal mathematics of mission success versus acceptable casualties.
But here’s Gilroy’s master stroke: he’s using MacLean’s assault-on-the-citadel template to deliver what might be the most sophisticated metacommentary on Campbell’s hijacking by neoliberal ideology ever smuggled into mass entertainment.
The Anti-Hero’s Journey as Ideological Exploit
Andor runs the MacLean protocol perfectly – every major sequence follows his template: assemble the team, infiltrate the target, overcome technical obstacles, execute the mission, extract under fire. Aldhani is pure Guns of Navarone: specialists with complementary skills, detailed reconnaissance, equipment failure, interpersonal conflict, and a climactic assault that succeeds at enormous cost.
But watch what Gilroy does with the aftermath. In a traditional Campbell cycle, the hero returns transformed, having conquered the citadel and claimed his reward. In MacLean’s version, the professionals complete their mission and move on to the next assignment. But in Andor, the “assault on the citadel” creates more citadels.
The Aldhani heist doesn’t resolve anything – it escalates everything. Instead of Campbell’s circular return to equilibrium, or MacLean’s linear mission completion, we get systemic feedback loops. The Empire responds to the robbery by tightening security everywhere, creating new forms of oppression that generate new resistance cells. Cassian’s “heroic” action doesn’t end his journey; it forces him deeper into a web of consequences he can’t control or escape.
This is where Gilroy’s hack becomes genuinely subversive. He’s using the “assault on the citadel” – the very narrative structure that neoliberalism conscripted to justify individual triumph over institutional opposition – to demonstrate why that framework is fundamentally broken.
Every time Andor deploys MacLean’s template, it reveals the template’s hidden assumptions:
The Myth of Decisive Action: MacLean’s heroes could solve problems through successful operations. Andor shows that every successful operation creates new problems. The citadel isn’t conquered; it adapts, evolves, metastasizes.
The Fantasy of Professional Competence: MacLean’s specialists succeeded through superior skill and planning. Andor’s characters succeed despite constant failure, miscommunication, and improvisation. Competence doesn’t overcome systemic dysfunction – it just helps you survive it longer.
The Illusion of Mission Completion has long been a storytelling staple, especially in classic adventure and espionage narratives like those of MacLean, where the story neatly concludes once the objective is achieved. There’s a satisfying finality in defeating the villain, seizing the prize, or toppling the fortress. Yet Andor dismantles this illusion with quiet ruthlessness, revealing that in the machinery of empire, there are no ultimate victories—only endless cycles of resistance and repression that endlessly regenerate themselves. The “citadel” is not a fixed stronghold to be stormed once and for all; it is a sprawling, adaptive system, a living organism of control and power that cannot simply be captured or destroyed.
This idea echoes the prophetic insight of Philip K. Dick’s famous assertion that “The Empire never ended.” For Dick, the empire is less a physical domain and more a pervasive state of consciousness and structural domination that outlasts any single battle or political upheaval. The imperial logic seeps into culture, technology, governance, and even the psyche, creating a closed loop of control that regenerates itself in new forms. In this light, Andor portrays rebellion not as a series of discrete missions with climactic finishes but as a generational struggle—an ongoing project of transformation that requires patience, resilience, and adaptability.
Transformation, then, is the true objective, and it is not achieved through isolated heroic acts. It’s a slow, grinding process of undermining imperial structures from within and without, remaking the social and moral architecture bit by bit. The citadel’s walls are less a physical barrier and more a metaphor for entrenched systems of power, and tearing them down is less about conquest and more about systemic evolution. In Andor, victory is less about a final, triumphant moment and more about planting seeds that will grow over generations, reshaping what empire means—and ultimately, what freedom could look like.
This perspective invites a deeper reckoning with resistance itself. It challenges the fantasy of the quick fix and forces a confrontation with the endurance required to transform societies shaped by sprawling, self-perpetuating imperial orders. In this way, Andor’s narrative rhythm becomes a meditation on the nature of empire and rebellion as intertwined, ceaseless processes—echoing Dick’s vision that the empire is not simply something to overthrow once, but a horizon that shifts endlessly, demanding a commitment that outlasts any single individual or campaign.
The Realist Novel’s Revenge: The Perfect Trojan Horse
By wrapping 19th-century social realism in MacLean’s adventure framework, Gilroy creates something unprecedented: a mass-entertainment narrative that uses the assault-on-the-citadel structure to critique the assault-on-the-citadel ideology.
The show gives audiences the visceral satisfaction of watching competent people execute complex operations – the MacLean hit – while simultaneously demonstrating that individual competence is meaningless without collective organization, that successful operations are meaningless without political context, and that heroic transformation is meaningless without social transformation.
Cassian’s arc isn’t Campbell’s hero’s journey or MacLean’s professional mission – it’s the realist novel’s understanding that personal change happens through historical engagement. He doesn’t discover he’s special and conquer the citadel; he discovers he’s connected and commits to the long, unglamorous work of systemic change.
This is why Andor works as both entertainment and political education. It delivers the genre pleasures that audiences expect – technical competence, operational tension, spectacular action sequences – while using those very pleasures to reprogram how viewers understand agency, heroism, and social change.
MacLean’s template becomes the delivery system for a completely different ideological payload: instead of reinforcing neoliberal fantasies about exceptional individuals conquering institutional barriers, Andor uses the familiar structure to demonstrate why those fantasies are not just wrong but actively harmful.
The assault on the citadel becomes a meditation on how citadels actually function, why they’re so difficult to assault, and what kind of long-term organizational commitment is required to transform rather than merely damage the systems that create citadels in the first place.
Beautiful hack, really. Gilroy took the narrative architecture that neoliberalism uses to justify itself and turned it into a weapon against neoliberalism. MacLean would have appreciated the technical elegance.
Beyond “Collective Might”: Survival of the Human Phenotype and the Party You’re Never Invited To
Don’t let anyone fool you with feel-good talk about “collective might.” The bitter truth Andor exposes—and one that Luthen’s arc drives home with brutal clarity—is this: you will never be invited to the party you helped build. The so-called “collective” isn’t a warm circle of shared glory. It’s a cold, adaptive organism focused on the survival of the human phenotype itself, not your idealistic dreams. It’s not about cheering together in victory but about endurance, mutation, and passing on compromised code through damaged vessels. The “party” is always elsewhere, for others — you’re just the fuel that keeps the system alive.
That “collective” you hear praised? It’s kumbaya copium. The real collective lives by stealth and mimicry, embedding itself like a rootkit inside imperial hardware. It survives not by purity or solidarity but by becoming indistinguishable from the system that oppresses it, absorbing its poisons to patch its own vulnerabilities. Resistance isn’t noble sacrifice; it’s a grueling, recursive survival strategy against an enemy that always moves faster, adapts harder, and cuts deeper. So stop dreaming about revolution as a carnival of togetherness—this is about biological and cultural survival when the party you made excludes you by design.
Andor doesn’t just tell a Star Wars story; it performs a multi-layered cultural exploit on contemporary media’s numbness and distraction. It weaponizes 19th-century literary frameworks as diagnostic tools to dissect algorithmic fascism today. But this isn’t sentimental nostalgia or academic homage—it’s a sharp, strategic payload hidden in plain sight. Balzac’s social stacks become audits of platform feudalism; Zola’s environment determinism morphs into digital behaviorism reports; Dumas’ networks turn into a dark forest of resistance interlaced with betrayal. The lesson? The “collective” is a facade. Behind it lies a survival code that knows you will probably not make it to Liberation day, so your job is to survive within and against it.
The genius of Andor lies in its triple-encrypted delivery system. The Star Wars veneer slips past casual censorship as nostalgic fluff, but beneath this layer sits literary realism coded with Balzac, Zola, and Dumas, while the Eisenstein-MacLean engine runs dialectical montage and suspense beneath. The “collective” becomes an intellectual sleeper cell—teaching viewers to decode power, map betrayal, and experience oppression viscerally. But remember: no matter how many cracks you expose in the system, the party remains locked. Your role is survival, not belonging.
This terrifies authoritarians because it upends their best defense: narrative entropy, flooding us with distraction and false unity. The prison break in Andor isn’t just an escape; it’s Kino Loy’s axiom in action: “Power doesn’t panic. Systems panic.” By merging systemic critique, visceral montage, and tactical clarity, Andor delivers popular art that doubles as critical theory, forcing us to see the hidden architecture of our own oppression. But the harsh truth lingers: while you decode and resist, the party you built is still elsewhere — the invitations never come to you.