Warning: this article contains spoilers for Andor season two, up to episode nine.

This week, many fans are diving into the final episodes of Andor season two on Disney+. Meanwhile, others are still reeling from last week’s powerful episode.

Episodes seven through nine of the Star Wars spin-off show depicted the tragedy of the fictional Ghorman massacre and its political fallout. Set chronologically two years before Star Wars: Episode IV – A New Hope, the episodes present the peaks of the Galactic Empire’s oppressive rule over the planet Ghorman, which culminates in a mass slaughter of peaceful Ghor protesters in the capital city’s main plaza.

Episode eight, Who Are You?, is a poignant portrayal of propaganda, collective resistance and military force.

A particularly emotive scene comes when Lezine (Thierry Godard) – a member of a local rebel group called the Ghorman Front – begins to sing in the midst of the Ghor’s demonstration. Soon, all members of the peaceful protest join Lezine’s chorus in an act that signals not aggression, but community.

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The moment echoes the French Resistance’s use of music to defy Nazi rule throughout the second world war. The French Resistance was a movement of civilians and combatants who opposed the German occupation of France.

While the episode’s parallels to Earth-side conflicts throughout historical and modern eras do not start and stop with the French Resistance, it is worth unpacking these similarities further. Doing so reveals insights into the power of art — and specifically music – in fighting tyranny.

The political parallels between Star Wars and Andor

The Star Wars franchise has long been analysed for its political storytelling. The original trilogy, for instance, makes connections to the French Revolution, the second world war and the Vietnam war. There are overarching themes of colonialism, fascist dictatorship and guerrilla warfare.

Andor is no exception. Showrunner Tony Gilroy uses two 12-episode seasons to narrate the birth of a rebellion and subsequent revolution. Critics and Star Wars pundits alike have commented on the show’s parallels to historical and contemporary conflicts, with think-pieces and social-media threads comparing season two’s plot points to the America’s 2003 invasion of Iraq, the Russo-Ukrainian war and even the conflict in Gaza.

The Ghor sing their anthem as an act of defiance in Andor season two, episode eight.

The Ghorman massacre has become an especially explosive talking point given its significance to the overall series. At the start of season two, it becomes clear that the Galactic empire requires a mineral – kalkite – that is unique to Ghorman to supply its “energy initiative” (the Death Star).

The empire subsequently launches a devastating propaganda campaign to turn the galaxy against the Ghor. This is done in anticipation of eventually carrying out a genocide against the planet’s people to clear the path for unimpeded mineral extraction. In turn, it is the Ghorman massacre that prompts Senator Mon Mothma (Genevieve O’Reilly) to publicly declare her opposition to the “monstrous” Emperor Palpatine (Ian McDiarmid) and lead the Rebel Alliance – as seen in the films Rogue One (2016) and Episode IV – A New Hope (1977).

In the lead-up to the Ghorman massacre, some of the Ghor initiate an underground resistance against the empire’s forces – often haphazard and disjointed, but resilient all the same. Several storytelling devices are used to evoke the spirit of the French Resistance.

For one, Gilroy casts French actors to play many of the Ghorman Front leaders, including Ewens Abid, Thierry Godard and Caroline Vanier. Second, the Ghor language is based on a combination of French phonetics and Italian grammar. Combined with the accents of the Ghor actors, it conjures the feeling of the French language, without directly using its vocabulary.

The costuming of the Ghor is also suggestive of second world war France, as they don trench coats and berets.

Music as a tool against tyranny

In the episode, the protesters sing the Ghor national anthem: We Are The Ghor! Its lyrics yield imagery of the “valley” and “highland”, as well as call upon its nationals to “raise your eyes to homeland skies”, “call your kin to come and sing”, and “tight the weave and roll the sleeve”.

Describing the creation of the anthem, composer Nicholas Britell remarked that his and Gilroy’s goal was to “create something that felt timeless and authentic, but which could also feel like an emotional rallying cry”.

The French national anthem, La Marseillaise, has served a similar mandate since its adoption in 1795. It was used as a political tool of resistance throughout the second world war.

French soldiers are shown singing La Marseillaise in a scene from Casablanca (1942).

Upon Germany’s defeat of France in 1940, the Nazi occupiers swiftly banned French citizens from singing La Marseillaise. In November 1940, however, thousands of French students and civilians marched around the Arc de Triomphe while chanting the anthem in a show of defiance. To end the display of unity, occupying forces violently dispersed the demonstration, injuring and arresting many.

Members of the French Resistance also gained a second anthem throughout the war, titled Le Chant des Partisans, which was composed and performed by Anna Marly. Like We Are The Ghor!, the tune evokes rural landscapes, hard workers and kin, as well as issues demands to its listeners-in-arms to “sing” as one.

There are many accounts of Le Chant being used to oppose Nazi rule. It was played, for instance, over the radio to signal an incoming message for the French Resistance. It was also reportedly hummed between members of the Maquis during sabotage operations. One account even relays the story of French fighters who whistled the song while they were forced by the Germans to dig their own graves.

The trailer for season two of Andor.

These examples from history and fantasy demonstrate the power of music to oppose tyranny. While in itself an act of nonviolence, singing in a group is a tool of community building – an indispensable component of overcoming authoritarianism. Tellingly, in an interview with DECIDER, Andor creator Gilroy explained that authoritarianism is always “about the destruction of community”.

When you sing along with the crowd at a beloved artist’s concert or belt the anthem ahead of a heated sports match, it is the joy of community that is felt – a feeling of oneness among a swath of strangers. It is therefore in this musical moment – reminiscent of not just the French Resistance but of all movements that have deployed music in defiance – that the fictional realm of Andor’s Who Are You? tragically tells the truth.

For fans, it aptly brings to bear the unshakeable capacity of singing to combat oppression, be it here on Earth, or in a galaxy, far, far away.

Clare V. Church does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.