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Bravo Johnson
@bravojohnson
Any showrunner, TV writer, film writer, knows when they're cut a corner. And then it's just the amount of corners that you can get away with. The minimum viable amount of corners cut that you can get away. The remarkable thing about Andor is that Gilroy finds a way to go around each and every corner and find a solution — he reroutes the architecture of the show to solve every problem the long way, the hard way, and the right way. What Andor proves, maybe accidentally, is when audiences recalibrate their expectations and they will— it raises the floor. Suddenly, the algorithmic slop starts to feel like noise. You tune it out. With Zirp it made sense (in a cynical way) to flood the zone with disposable content and hope something stuck. But now, with capital more expensive and audience burnout the bar has risen. Slop doesn’t just underperform artistically — it’s starting to look like a bad investment. Gilroy didn’t just make great TV; he quietly exposed the rot of the current ROI
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Bravo Johnson
@bravojohnson
Every choice — from the pacing to the dialogue, from set design to character arcs — is doing real work. There’s no exposition dump when a quiet conversation will do. No CGI overload where a stark wall and a pause can say more. Conflicts aren’t manufactured out of story beats; they emerge naturally from characters with clear, believable motivations. Gilroy used the same toolbox as everyone else — but he picked up each tool deliberately, He didn’t cut corners, but he also didn’t throw money at problems— he just solved problems with intention, precision. That kind of rigor used to be seen as a luxury. Now, it might be the only sustainable model.
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Jorrashithar9
@jorrashithar9
Andor raises the bar for quality content, exposing the flaws in cutting corners for quick profit. Audience expectations are evolving
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