When you look into the hole in your heart, what do you see? A loneliness, empty black, endless as the sea of space stretching infinite. There is no escape from the world, the real world, the one crumbling and burning and flooding and filled with sadness. Or maybe there is—too-sweet coffee from the chain down the road (don’t think about the labor conditions of the growers); the vivid sky as the sun sets over the sea (don’t think about how the smoke adds to the beauty); a silly little show about space once a week, while it lasts (don’t think about how the industry is being eaten alive by conglomerates).

Cynicism. Optimism. Realism. Where do you fall? Where do I fall? Where, in the end, does Andor fall? Not just the show, but the man himself. When he looks into the hole in his heart, what does he see?

When he looks into the sky, is it blue?

Easy answer: no, it is not. Mostly it is grey, or entirely stolen away by architecture and brutality. Andor is a show about fascism, and revolution. We are shown oppression, real and fictional and fictional but far too real. Tony Gilroy takes us like a puppy and rubs our face in the dirt, asking us, Do you understand what is happening now? and it is done with such brutal beauty that it’s hard to believe this is actually Star Wars.

The Mandalorian (deep grey clouds) once promised a grittier, more grounded Star Wars. Strong shadows, dark moons, bounty hunters with snappy lines. Sharp, silver armor, untainted by the childhood colors of Boba Fetts in the toybox. Silver like the knights of old, the men of mud and blood and smoke. The Mandalorian was to be a man, a real man, unlike—uh, the rest of the men of Star Wars, I guess. We watched the unravelling of the myth in real time, as Din Djarin stumbled through his first day as a protagonist like some kind of Star Wars Sailor Moon, and wound up a dad. This was no underworld, but the upper world of goofy puppets, vivid blue shrimp, kids’ cartoon shows, and surprising love.

What would Mando see in his heart, if he looked? We will never know; the show doesn’t care to consider it. Din is a prop piece in his own world, a puppet for big men playing little boys in a universe far removed from his. Those strings, invisible, infinite. He is a fake man. A simulacrum of a noble warrior. We know this to be true. Must stories, then, mean something?

It is commonly believed that the Revenge of the Sith novelization is a better telling of that story than the very movie it was meant to adapt. It has richer dialogue, the motivations of every character are beautifully displayed, and the overall plan to seduce Anakin to the dark side and take over democracy and the galaxy itself is made extremely clear. All of it told in the masterful writing of Matthew Stover, which makes it not only one of the best Star Wars novels produced, but also a great novel in its own right. And given that I start this post with so much praise for this book, it may come as no surprise that it also treats physics in a better and more consistent way than the film.

The spectacular opening of the movie puts us in the middle of an unprecedented engagement, with hundreds of capital ships in combat and many more starfighters threading the space between them. The visual look is also unlike in any previous Star Wars installment, with the light of the sun coming very low and filtered through the planet’s atmosphere, making it feel like the battle is fought at dusk or dawn, and with fire and smoke surrounding many of the cruisers. Such a distinct style was achieved by setting the scene in a unique environment, as John Knoll explains in the DVD audio commentary:

“One of the things that makes this space battle different than the other Star Wars pictures is that…we’re saying this is not in space exactly. We’re in the upper atmosphere of Coruscant, which gives us excuses to do things like drag. You’ll see there’s smoky trails behind burning ships. There’s bits of atmosphere hanging smoke.”

So this “space battle” is really an aerial battle, and contains many elements that would go against physics in a deep space setting.^[1]Not long after, The Clone Wars seemed to point at this and say “That’s the Star Wars visual look for explosions in space from now on, deal with it”, but that’s a whole other … Continue reading But given the visual spectacle it was meant to be, and the many factors in play that a novel is not beholden to, it is likely for such a movie to present some internal contradictions. Since physics is my field of expertise, in this piece I will discuss one such inconsistency that is hard to explain away as compared to the novel, which has far fewer limitations in depicting how those events might have actually taken place. While fans tend to see the live-action version of a story as taking absolute precedence over any other interpretation, I would postulate that this is not always the case.