deerstalker
After season 3 of White Lotus dropped, fans were confused by what was happening with Aimee Lou Wood and Walton Goggins. Now, a journalist wouldn’t take no for an answer when asking Goggins about it.
During the final episodes of the series, Goggins and Wood unfollowed each other on social media. It then turned into fans trying to figure out what happened and connecting everything through their use of the song “Silver Springs” by Fleetwood Mac. The online chatter was so loud that other cast members heard it and others like Jason Isaacs shut it down. Now, Goggins had to do it and was clearly not happy about it.
After season 3 of White Lotus dropped, fans were confused by what was happening with Aimee Lou Wood and Walton Goggins. Now, a journalist wouldn’t take no for an answer when asking Goggins about it.
During the final episodes of the series, Goggins and Wood unfollowed each other on social media. It then turned into fans trying to figure out what happened and connecting everything through their use of the song “Silver Springs” by Fleetwood Mac. The online chatter was so loud that other cast members heard it and others like Jason Isaacs shut it down. Now, Goggins had to do it and was clearly not happy about it.
Early impressions of Andor season 2
“Hope is not handed down from heroes. In Andor, it is clawed out of the dirt by the desperate.”
Hope is not shiny in Andor. It is beaten raw, buried under dirt and grief, and clawed back one inch at a time. On Ferrix, hope sounds like the clang of metal against stone and the quiet hum of a community refusing to die. Andor does not ask you to believe in destiny. It shows you what rebellion costs, what it steals, and what it leaves behind. In a galaxy built on legends, Andor dares to remind us that the real spark has always been the ones who had nothing and chose to fight anyway.
Andor never shies away from the darkness that breeds rebellion. The show lingers on fear, loss, betrayal, and loneliness without romanticizing any of it. These characters are not fighting for glory. They are surviving broken systems, mourning stolen futures, and learning that the fight itself often demands more than they thought they could give. Watching Andor means sitting with the uncomfortable truth that sometimes survival is not enough, and that resistance often costs everything long before the first blaster shot is ever fired.
When Andor first landed, I thought I knew what to expect: another extension of the Star Wars legacy, something cool to pass the time before the next big saga installment. What I did not expect was one of the most masterfully written, thematically rich stories the galaxy far, far away has ever given us. Andor did not just raise the bar for Star Wars shows. It quietly redefined what a rebellion story could be.
Where some corners of the Star Wars universe lean heavily on nostalgia, familiar beats, or hero’s journey tropes, Andor took a different path. It gave us something grounded. Something intimate. Something human. The story of Cassian Andor is told with such precision, weaving quiet moments of survival, sacrifice, betrayal, and resistance, that every character feels like a whole person instead of just a cog in a larger cosmic machine. The show trades in grand destiny for grit. It shows how revolutions do not spring from fate or chosen ones. They spark from small, painful decisions made by ordinary people who have been pushed too far.
The symbolism woven into Andor is stunning. From the way Ferrix’s people literally build the foundation of their resistance with their labor, to how music, language, and tradition become acts of defiance, every detail matters. Even the quieter shots, like a glance, a hesitation, or a funeral procession, are heavy with meaning. The show trusts its audience to sit with complexity rather than spoon-feeding good versus evil.
Watching Andor changes the way Rogue One plays. Cassian’s choices hit harder. Jyn Erso’s cynicism feels less like attitude and more like survival. The stakes of the rebellion are no longer just tactical. They are deeply, painfully personal. You can feel the ghosts of Ferrix, the sacrifices of Luthen’s network, and the brutal cost of resisting the Empire in every step Cassian takes toward Scarif. Rogue One is not just a heist movie anymore, it is a tragedy built from a thousand smaller tragedies. Andor is what gives them their full weight.
And now, with the first three episodes of Season 2 finally here, I am ready. I am ready to sit with the discomfort again.
I am ready to see what further scars Cassian earns on the way to becoming the man who told Jyn, “Rebellions are built on hope.”
Andor did not just make me appreciate a character more. It made me fall in love again with the entire idea of Star Wars.
Not the Skywalkers.
Not the Force.
But the people. The messy, desperate, hopeful people who make resistance possible. And I cannot wait to see where the story takes us next.
Cover image via IGN Pakistan
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The post The Fire Beneath Ferrix: ‘Andor’ Shows Us What ‘Star Wars’ Always Could Be appeared first on Black Nerd Problems.
In Thunderbolts*, Yelena Belova (Florence Pugh) admits that she feels lonely and lost. She opens up to Alexei Shostakov (David Harbour) how she’s feeling and we get one of the most relatable scenes in the entire movie.
**slight spoilers for Thunderbolts* ahead**
At this point, watching products in the Marvel Cinematic Universe feels a bit like reading modern philosophy. I know. Hold on. Don’t start typing yet. I’m going somewhere with this. What I mean is that modern philosophy books are rarely standalone products. They are the products of decades and even centuries of discourse. People from one school of thought are responding to those in another camp. Frantz Fanon will dedicate a chapter of his book to summarizing and refuting Octave Mannoni’s views on the psychology of colonized peoples, and Lord help you if you haven’t read the latter. Whenever one sits down to read a modern philosophy book, one is, in effect, entering a yearslong dialogue mid-conversation. It is easy to get lost in the footnotes, and one never feels like they’ve spent enough time reading the background information necessary to feel like one is keeping up.
In a far less intellectually rewarding way, this is kind of what it feels like to prepare to watch the MCU’s 36th film, Thunderbolts*. Indeed, there are 10 MCU projects you can watch just to be fully abreast of what is happening. If we (very conservatively) assume that each of those projects took two hours to complete, that’s nearly a day’s worth of content in order to understand a film that clocks in at two hours and six minutes. But, the question is this: Is it worth it?
The answer, overall, is yes.
The basic story is this: Florence Pugh (Black Widow, Dune: Part Two) reprises her role as Yelena Belova. Yelena has been mourning the death of her sister, Natasha Romanoff, who is left unnamed. More on that later. This sense of mourning has left her feeling listless and bored. In a stunningly shot opening scene, she more or less sleepwalks through a fight with henchmen while seeking to recover — or destroy — some research on behalf of shady CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). When Yelena asks Valentina for more of a front-facing role, one that allows her a sense of visibility and ends the monotony of covert black ops, Valentina promises she will get that after One Last Job.
On the OLJ, Yelena quickly realizes that she has been duped. Valentina, in an effort to clear her name and evade impeachment from her CIA role, has opted to have every assassin she has ever contracted kill one another and have the last person standing die in an evidence-destroying incineration. The problem is Yelena isn’t the only one to realize she’s been had. Ava Starr, aka Ghost from Ant-Man and the Wasp (Hannah John-Kamen) and John Walker, aka the failed Captain America from Falcon and the Winter Soldier, also realize that they have been double-crossed. Worse, they have awoken a seemingly harmless, largely aloof young man named Bob (Lewis Pullman) and must now protect him from Valentina’s traps.
From here, the story becomes a revenge mission. These misfits, along with the Red Guardian Alexei Shostakov (David Harbour) and the Winter Soldier — and freshman congressman — Bucky Barnes (Sebastian Stan), must find a way to stop Valentina before she can unleash a power held within Bob that threatens the young man and everyone around him.
It is here that I should make a full disclaimer: This film is certainly the most interesting Marvel has been in a while, but it is still very “Marvel,” much to the chagrin of anyone who has tired of that entire film subgenre. To its credit, the film makes good use of lesser-known characters and allows audiences to see origin stories other than Uncle Ben (or Aunt May) dying for the umpteenth time so that Peter Parker can truly comprehend that with great power comes great blah blah blah. While the movie largely elides the back stories of everyone besides Yelena, it is interesting to see how it deals with darker themes related to guilt, shame, and a sense of lacking real purpose. The film, a bit too literally, depicts how one can get trapped in one’s shame, in the part of the brain that, rather than saying “You did a bad thing,” declares “You are a bad thing.” It is here where the film shines.
Florence Pugh is, as always, a breath of fresh air, elevating would might otherwise be senselessly dismissed as a Suicide Squad ripoff. The pathos Pugh brings to Yelena is by far the main reason to see this film. Yelena is a mess, and messes recognize, empathize, and connect with fellow messes. Her scenes with Pullman and Harbour anchor the film with an emotional weight that allows the audience to connect with stakes other than “Will our heroes be able to fend off these decently rendered CGI effects?”
That’s the good of the film. The bad, as I said, is that this is still a Marvel film, with all the hallmarks attendant to that. In other words, if you need actual stakes or a sense that someone or something might actually be lost in a meaningful sense, go watch Sinners. If you’re not a fan of the quippy brand of Marvel comedy, run for your life. This movie has never seen an emotional moment it didn’t want to undercut with a silly line in order to prevent the audience from having to sit with any negative emotion for too long.
To be fair, most of the lines come from Harbour, who is having so much fun that you’d have to be heartless to begrudge his joy. But, still, what about our joy? Or, more importantly, our sadness? Our ability to recognize in a character the loneliness that wanders in and out of everyone’s lives from time to time. Marvel, we’ve been watching your movies for the past 17 years. We’ve grown up with you. We are big kids now. We can sit with an uncomfortable emotion without needing assurance that there’s a joke around the corner.
Still, there are signs that Marvel is growing with us. It understands that new fans may not know who Natasha Romanoff is, so they omit her name so the audience can focus on Yelena’s loss rather than have to recap a series of films starting in 2012. The main antagonist is more at war with himself than anything else, and we are thankfully denied a sky beam in the climax. This is the best Marvel film in years, but sometimes I wonder if that means much to people other than its core audience.
To be sure, this film is conversing with past and future Marvel. As a viewer, you’ll be able to pick up the flow of conversation pretty quickly, but unless you are fully invested in all three interlocutors, you might lose interest in their reminiscing and predictions. Indeed, you may just decide your time was better spent trying to finally decipher Fanon.
Thunderbolts* premieres in theaters May 2, 2025.
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