Andor’s back with its tenth episode, which culminates the prison arc in a big way. It was full of action, character and growth and certainly a joy to watch, but I don’t think it reached the same heights as episode six. But that’s okay, it’s not like this episode was bad. Far from it, it was quite excellent in fact, one of the best, and here’s why.

One Way Out picks up moments after last week’s episode with Andor and Kino making their way back to the bunks. Casting Andy Serkis in the role of Kino was one of the best moves that this production has made, as Serkis brings a force and a vulnerability to the character that’s infectious to watch. Kino is clearly shaken about what’s happened and seems lost in these opening scenes. It’s not until he’s slept on it that he fully commits to the plan, taking charge of the situation. It may be Cassian’s idea, but he knows that the inmates will only follow an authority figure like Kino, rather than a newcomer like himself. Despite not taking on a leadership role, this decision to not only orchestrate the plan but to also pass the role of inspiring leader to someone else shows tremendous growth and, ironically, leadership skills from Andor. This is definitely Diego Luna’s best acting as Andor to date, but this episode belongs to Andy Serkis and I would argue that his acting is some of the best of the year and worthy of a best-supporting actor nomination at the very least, if not the win.

The tension during the breakout scene was great, especially when Andor was cutting the pipe. The timing of the elevator, the music, the coordination, it was all very suspenseful and captivating. Kino’s rousing speech to the inmates, which pulled some words that Andor spoke to him earlier on, was full of hope, not anger and it got the inmates to the exit en masse. Despite all this, the prison is an island of sorts and Kino reveals he can’t swim. I love that the episode doesn’t make a big deal of this revelation. He’ll likely die or suffer torture from the Imperials but as he said during the morning speech in the bunks, he’s accepted that he’s dead already. It was honestly so tragic to see him just stand there, hopelessly declaring that he can’t swim before Andor gets pushed into the water by the mob.

Despite all this, there were plenty of brief yet pivotal moments in the other plotlines. Mon Mothma meets with the Chandrillian underworld figure Davo Sculdun, who is more than okay with moving Mon’s “charity” money around for her. But not at a financial cost. In a move that would be right at home in Game of Thrones, Davos proposes that his fourteen-year-old son get married to Mon’s thirteen-year-old daughter. It’s a move that’s clearly a power grab, to move Davos is clearly intent on moving up the social ladder. Despite Mon’s forwardness and blunt honesty, he observes that Mon not considering the idea at all is the first lie she told during their meeting, meaning Mon is likely actually considering pawning her daughter off to finance the Rebellion. Goodness, this show. That was probably the first time Star Wars has made me squirm.

Elsewhere, Luthen gets a brief but pivotal scene with none other than Lonni. You may be asking, whose Lonni again? And that’s kind of the point. He’s a side character at the ISB and he’s also a mole. Didn’t see that coming and it’s great that they made his character so unassuming. There was a great moment where Lonni reveals an ISB plan about a ship and the fate of the crew and Luthen states that those fifty crewmates will have to die in order to keep Lonni’s cover intact. It reminded me of The Imitation Game, where the English had to let ships sink in order to ensure the Germans didn’t learn that they cracked Enigma. Lonni, frustrated by his lot in life, tells Luthen he wants out as he’s sacrificed enough. Luthen goes into this fantastic speech about everything he’s already given up and how he won’t get to see the fruit of his labours as he’s already dead (echoing Kino). Luthen is the kind of man whose willing to use anyone and let any number of people to the slaughter if it means his vision of the future gets realized. This radical thinking makes him quite dangerous and I’m sure he’ll be painted as a villain down the line, despite being on the side of the Rebellion. Him being cloaked in a black robe certainly reinforces this concept that Luten is not to be trusted.

That’s what Andor’s been doing so well though. For the longest time, it’s been the Light Side and the Dark Side. This show is about the muddled dirty grey zone. To create the Alliance, some shady people did a lot of shady things, morally bankrupt actions all in the name of good. Mon Mothma is the only character who was morally pure, punctuated by her white wardrobe, but the prospect of using her child as a bargaining chip proves that even the purest of souls can’t remain clean in a war like this. Andor is a show that often gets called slow or boring, but the writing and acting alone make Andor prestige television that’s unlike anything Lucasfilm has done before.