In 2016,launched two sci-fi shows about young girls with superpowers.
one was. The other was The OA, a mind-boggling mystery set in a small town with a villainous scientist who performed inhuman experiments.
One of these programs is no longer running. And yet, The OA remains the second best TV show sunk in the mines on Netflix. We believe that the best show isbut The OA is not far behind.
The OA is hard to describe, because it stitches together a handful of different genres onto its own ethereal plane. OA is surreal at times. Instead of floating images gently bumping into one another, though, the sci-fi here is delivered with the assurance of a Christopher Nolan movie. It moves with the same relentless force.
Our host and main heroine is Prairie Johnson. In the first scene, Prairie, a young blonde, jumps off a bridge. When she wakes up, she is back home. She had been missing for seven years.
No one knows what happened to her. Her return is a miracle. Even more shocking: once blind, she can see again.
Prairie has scars on her back and experiences traumatic episodes, but she won’t burden her adoptive parents with her story. Instead, she turns to the internet and finds like-minded friends through YouTube.
From here, the story works a bit like the mystery in. We don’t know if Prairie is telling her new friends the truth or not. We don’t know if she really has supernatural powers. For them, it doesn’t matter at all. She brings unhappy and trapped people together, showing them the same kindness and understanding that they have shown her. Showing them an escape.
The OA comes from the creative team Brit Marling (who also plays Prairie) and Zal Batmanglij. The show feels like the product of buzzing minds enthusiastically pitching one idea after another. The OA is as intense as it is dense, exploring the human condition, mortality, the afterlife and… the multiverse.
That’s how it is. Forget. This is the show to watch if you want a rich, existential look at the interconnectedness of all things. The world of OA is vast and the way it works follows the most unexpected rules.
The OA is also not governed by any strict television series formula. The opening credits do not appear until 57 minutes into the show. It was written like an eight-hour movie, with a fictional approach. You don’t meet some of the main characters until a third of the way through.
And season 2 is even better than the first. It turns into a noir detective story set in Silicon Valley, where kids, one of whom is played by Zendaya, go missing after competing in a virtual reality game on an app. Shot with a more polished look, Season 2 is a bit less somber than Season 1’s character drama. There are even attempts at humor – Marling is no stranger to comedy, having appeared on Community and the UK series Babylon. .
Every once in a while, The OA’s literary voice finds a gem. “To exist is to survive unfair decisions,” someone tells Prairie.
So it’s a bit puzzling that Netflix canceled the show after two seasons. Somehow, this ambitious ball of tangled threads that straddles the genre is a cohesive, life-affirming experience.
He bonds with realistic and loyal characters united by their harrowing shared trials. There’s even a believable love story, a flash of warmth amidst lurid science, cryptic puzzles, and mind-blowing imagery.
Netflix made a mistake by canceling this show. Many fans believed it was a publicity stunt: there was no way the broadcaster would stop funding this acclaimed, albeit expensive, series scheduled for five seasons, each vastly different in style and setting from the last.
Surprisingly enough, the season 2 finale almost doubles as an ending for the entire series. Still, Marling and Batmanglij have the real conclusion hidden somewhere. Please pray that they get a chance to bring Season 3 to the screen. Someone please jump dimensions and rescue this show from the realm of canceled television.
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