This show doesn't feel "tight." There are some continuity errors, and the plotting just feels a little... sloppy?
Andor really felt like everybody knew what they were doing, even in those slow early episodes.
Two continuity errors from this episode in just one scene: When Falsworth walks into the meat locker, it seemed clear that she was barging in on these Russian gangsters in the middle of their interrogating someone. But when the prisoner lifts his head up, I was struck by how unhurt he looked. He barely had a mark on his face. So then I thought, "okay, the Russian gangsters work for Falsworth - that's kind of interesting, in itself - and were waiting for her." But then the guy says, "we tried everything to make him talk." Um, wut? Then we clearly see Falsworth bar the door from the inside, but when Gravik arrives one of his men blows the lock with an explosive and the door falls outward. Nobody on that set was paying attention to the very scene they were filming.
Overall, I can't help feeling like everybody on this production is just collecting a paycheck and trying not to do such a poor job that they can't put it on their CV later. I mean, we've all had jobs like that. But if that's the case, do I really have to keep watching? I've got stuff to do (or, at least, other shows to watch

).
The scene between Cheadle and Jackson was fun to watch, even though it raised some questions that I'm not expecting to be answered. I was reminded a little of the scene in
Heat with Pacino and De Niro, but I like Cheadle and Jackson more than I like Pacino and DeNiro.
Kingsley Ben-Adir is doing some good stuff. I liked his performance in the scene with the Skrull council.
Olivia Colman is having some fun. She's always fun, even when she's punching you in the throat, like in
Broadchurch (if you ever wonder why I like Colman, watch
Broadchurch). Did anyone see
The Lobster? Her scene in
The Lobster is a riot. I bet she's fun, irl.
The scene with the Skrull council was a straight rip of
Blade. I mean, I know
Blade didn't invent the concept of the fiery young revolutionary bringing a new level of violence to a conservative group of supposed rebels comfortable with the status quo.
Blade is just what I thought of. Kinglsey Ben-Adir is playing the character with a much more laid-back demeanor, which I really like. In the scene in the car with Emilia Clarke, there was even something in Ben-Adir's slouch that I liked. Like he's so relaxed it makes you nervous. Stephen Dorff played Deacon Frost as more outwardly hostile, like he had to restrain himself from just killing everyone in the room. Which I also liked. Both versions work well.
I wanted last night, and continue to hope, that Gravik is an honorable man in his own way, and wouldn't actually have the one woman who didn't relent killed as soon as she walked out the door. I think I would find it more interesting if he was a man of some integrity, even as he's a violent terrorist bent on global chaos, but also because I just thought having her killed after he told her she could "go in peace" was too obvious. I was getting worried about the writers mailing it in and doing the obvious thing.
One problem I have with this show is that Gravik's plan to get the US and Russia into a war with each other is just
so boring. I'm hoping like Hell that this whole plot is just a misdirect - by Gravik and by the show's writers - to keep the world's intelligence agencies busy while he enacts his real plan.
Something I didn't catch immediately: The list of creatures being used to create the Super-Skrull is an effort by the writers to mimic/recreate the powers of the Super-Skrull in comic, but without the Fantastic Four. (For those unfamiliar with the comics, the Super-Skrull had the combined powers of the FF. He could stretch, turn invisible, generate fire, and had super-strength.)
Oh, one thing I liked in this episode was actually seeing Fury promise the Skrull refugees that he'll help them find a place to stay permanently, all those years ago. It didn't tell us anything we didn't already know, but before now we'd only been told about the arrangement. It was a nice illustration of the old "show, don't tell" maxim in writing. In this case, we'd been told already, and we could see how much stronger it was in contrast to be shown. I feel like I have a better grasp on Gravik and his motivation, having seen that with my own eyes.