Andor (2022) renders the Galactic Empire not as chrome and menace but as cast-in-place concrete — sweeping, desaturated gray forms sitting under flat institutional light, oppressive because they are utterly unremarkable. Production designer Luke Hull and creator Tony Gilroy rejected both the shiny prequel palette and the black-and-gray comic aesthetic of prior Star Wars media, grounding the Empire in the bureaucratic materiality of real-world authoritarian architecture.

The result is a language of monolithic slabs, rigid grid partitions and sharp institutional keylines — a mid-gray concrete field broken only by cold blue-gray accents and near-black shadow. Nothing is decorative; every surface reads as poured, load-bearing, and built to outlast the people inside it.