"The OA's" is a purposeful originality that allows flirting with greatness, but such uncompromising storytelling may not be built for eternity.
[Editor'sNote:Thefollowingcontains Spoiler from "The OA" Season 2, including the Batshit Finals.]
If you say nothing, prepare for the end of "The OA." It's a beautification when you look at the entirety of Season 2 – a meticulously extended, increasingly banana The story of creators Brit Marling and Zal Batmanglij is created for it.The madness escalates only as Marlings "original angel" (aka OA) more and more learning about interdimensional travel to save their jumpers from Dr. Hap (Jason Isaacs), but even if you think the last madness has paid off, a whole other layer of madness spreads to the series, and the end of "The OA On the one hand, this is exactly what fans want The Netflix original series places value on "Original" at every corner, so it's always harder to complain if the brave Decisions do not meet your expectations. Only Marling and Batmanglij have a firm grip on what is allowed in this unique world. We're on the ride right now.
But that does not mean you have to drive like . Spectators can admire something and still get a headache. After the second season, it becomes difficult to imagine that a wide range of people at the show stick to long seasons intermissions and increasingly complicated storytelling. It's one thing to accompany a huge audience into a wild two-hour movie (as Marling and Batmanglij have done in the past), but it's another thing to think that they will be back for more than 20 hours of television. Does "The OA" affect its target audience with its uncompromising vision ̵
1; and ultimately shorten its lifecycle?
It's hard to say how many Netflix subscribers are watching – and how many Netflix subscribers need to continue the series (but this show can not be cheap) – it's also difficult to judge how much weirdness Viewers can record. After all, "The OA" comes from a season in which the "movements" were the strongest moment, and Season 2 plays in a whole other dimension with completely new craziness. Things are getting crazier. Let's take a look at Batshittery's escalating scale, which is divided into three levels: fun surprises, admirable creative efforts, and when "The OA" goes too far (also known as "The New" Movements) to try to portray something find out if "The OA" is sustainable or if its untested ambitions point to a quick exit to the original angels in the sky.
Emory Cohen in "The OA"  Nicola Goode / Netflix
The Fun Surprises
- Season 1 (if not Marling and Batmanglij's last film work) brought some big name fans to Zendaya's appearance in Episode 1 as an experienced veteran of the game "The Game." "(An online jigsaw puzzle to find new dimensions in an old house in San Francisco) becomes a recurring role that is exciting every time it appears (especially if it's in-game Riz Ahmed's pop-in is less legitimate, as he literally appears at the end of Episode 6 (as an FBI agent promising to help OA). and then never appears again. Finally, the much-debated but never-seen Pierre Ruskin is portrayed by ex-Mad Men star Vincent Kartheiser – frankly, he's the perfect person to play a reclusive, wealthy guy who creates a viral computer game for cheap labor to attract for its own nefarious purposes. Not too distracting, but entertaining for entertainment fans, this kind of surprise works every time.
- Honestly, if you had told me that robots doing the "movements" would look less stupid than the people who do them. I'm not sure I believed you. And yet, the little wooden cubes that came to life and created a surprise path for Elodie (Irène Jacob) to travel between the dimensions look kinda cool. They are cute, portable and certainly a practical thing – dare I say logically ? – means that a person can travel alone. You do not have to lug around with some friends or train new people if there is a robot that does the moves for you. This was a clever addition that undoubtedly annoyed anyone, other than to say …
Creative Ideas on the Edge
- Using these words, Netflix describes OA's Episode 5 discovery in the mysterious S.F. House with several dimensions. They sit in a tree that tells OA that "it's been calling them out of the earth for years," says the talking vine, that it's a medium that can communicate with the natural world. In other words, she's like Mark Wahlberg in "The Happening," unless she stares at a tree in the corner of an office and asks, "Can you hear me?" The tree can actually hear them . (You know, assuming it's not a plastic plant.) This is a bit stupid, but it's an excuse to create lush, intriguing images – OA, lovingly encircled by a huge space tree, is something that we like to see.
"Old Night" (aka The Horny, Psychic Octopus)
- When OA walks through the dark path lit by neon pipes, to an unknown destination, and even when she is strapped into a chair in front of an underground audience , this is unlikely anyone thought, "Oh, there will be an octopus in a huge glass tank, sitting behind her and waiting to wrap his tentacles around his arms to communicate psychologically with OA." I think she is not only a medium for plants? In any case, the spectacle is breathtaking – there are several wide shots of a red octopus perched halfway out of its shell and tentacles dangling over a blue stage – but the concept is out of this world. Maybe the episode title "SYZYGY" should give us some weird shit, but this is the first big, unnecessary risk that was taken in Season 2. Mainly because these tentacles are starting to undress for Lord, the reason knows.
Hap's Inner Lab (aka the "Invisible River")
- After repeated teasing about what happened in Dr. Ing. Haps hidden in the invisible laboratory, it will be revealed in the final to accommodate the corpses of many deceased characters. They are suspended in a pool and are used as a kind of living fertilizer to grow flowers that allows anyone who eats them – yes eats – to see which dimension they are coming to. This makes sense in the show since Haps did original research in which he repeatedly killed and revived people who have made near-death experiences to understand how to reach another dimension, but it still is a strange joke sight to see. Why is it called "Invisible River"? Because it is a path to a dimension that you can not see, it exists only in its current dimension. (I think I will not pretend to understand every aspect of "The OA.") This is a solid narrative payoff, albeit a special one.
"The OA"  Scott Patrick Green / Netflix
When "The OA" goes too far
Hap Iats a Flower
- This is just stupid – and the Self-sovereignty of "The OA" means that it can not afford to be stupid. Unfortunately, it's just one example of the many Wackadoo dialogues that sound absolutely absurd outside the context. During the highlight of the season finale, Hap and OA argue about who should travel between dimensions, how to do it, and what it is worth sacrificing to make such travel possible. Of course, they disagree and are equally obvious in expressing their grievances, while gigantic versions of the dancing robots perform all the movements around them. Then this exchange happens:
- OA: "Open the invisible river. I'll get back into the dimension when we're both dead.
Hap: "You would not. "[Hap then slowly puts a flower petal in his mouth and chews it, daring OA to follow through on her threat.]
- I mean, come on. "Open the invisible river"? "One dimension when we are both dead"? A Petal as Ultimate Life or Death Threat Eat?! This is so, so strange and even ridiculous in context. These types of moments occur more often than they should. This gives the impression that no employee of the "OA" typist can step back and say, "Wait. Let's make that a bit more accessible. "Of course, this is exactly the kind of" let's go "that allows them to create such unfiltered originality and even highlight" The OA ". So here we are: one last challenge to overcome, and it's a big deal …
The Final Meta Twist
- Here's the end of "The OA" in its simplest form: After Homer of Hap is shot, OA brings them all into a new dimension To try to save his life – a new dimension, in which OA is an actress named Brit, Hap is an actor by the name of Jason Isaacs and she became one Stunt injured on the set of a TV show. Right! OA takes her into our dimension; outside of your TV and in your very own reality. We're all in "The OA" now! Again she is hurt and needs help. Again she holds on to Hap, but this time Homer is trapped in another body (Steve's body, to be specific, somehow drawn into the interdimensional journey).
Well, no matter where these decisions arrive your personal Scale of Batshittery – you may think that Hap, who eats a flower, completely meets the expectations of the show, or you might think of the Tree Internet ( Seriously, say that aloud a few times) is so stupid that you can never take anything seriously on "The OA" – the point is that they all add up. In one way or another, the experience is either addictive or alienating and the conclusion of the season is not self-evident. Even if the audience is done with it, how many will be able to endure the meta-turn of writers who write themselves into their characters? How many will admire that "The OA" is so meta, so presumptuous and so serious in their mix of religion and physics that you have to believe yourself outside of the TV series itself? And as storytellers, do their creators have the responsibility of giving themselves the best chance to finish what they started, or just keep working for themselves and see what happens?
There is no real way to prepare for such a turn – Even though one character's journey into another dimension revealed that OA called himself "Bri" and showed that Hap wore a British accent like Jason Isaacs – but should the audience prepare for an end? I like "The OA", Bonkers and all, and I do not want it to be shorter. What happens next in the real world depends on the Netflix algorithm and those who interpret its results. What happens next on the show, however, is anyone's guess. Or is it the other way around? Living in a world where Brit Marling controls whether her sensational show continues or not is the kind of wish-fulfillment fantasy we can leave behind, but eventually "The OA" has to accept the reality that has existed.  Login: Keep up with the latest movie and TV news! Sign up for our e-mail newsletter here.
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