[Apple TV+] S1 was possibly somewhat underestimated, but it built a space between horror and absurd humor, which is even revealed as a premonitory of the subsequent confinement, given its narrative premise of taking place only in the house where the protagonists live. Although chaotic in its development, the typical ending of Shyamalan productions revealed great surprises.
In S2 it seems clearer that they are trying to build a more extensive narrative arc (M. Night Shyamalan has commented that from this season they started to work in a plot that lasts 40 episodes, that is, four seasons). And in a way it's about putting some order into the chaos of S1, especially around the character of Leanne. They certainly do, but without finishing building a homogeneous development.
One of the most interesting characteristics of this series is the selection of directors, mainly from European fantasy and horror films: the French Julia Ducournau does a splendid job in her two episodes, marking a beginning of great visual impact. But there are also the Swiss Lisa Brühlmann, the Swedish Isabella Eklöf or the Hungarian Nimród Antal, apart from two episodes that are reserved by M. Night Shyamalan and his daughter, Ishana Shyamalan.
S2 has an excellent start and a haunting ending, but in the middle of the season it gets repetitive and seems to want to play more clearly on the absurd humor, which is disconcerting at times. The revelation of Leanne as a kind of fallen angel who is able to bring back to life (to Jonathan, but also to Julian), but who behaves like a rebellious angel, opens up the possibilities for a plot that seems to be turning her ever-growing into the real protagonist (in the second season the characters of Julian and Sean are a bit blurred). And the end of the season, with the entrance of Josephine, promises more than they possibly end up offering us later.
Review by Miguel A. ReinaBlockedParent2021-03-21T22:39:07Z— updated 2021-03-24T11:43:24Z
[Apple TV+] S1 was possibly somewhat underestimated, but it built a space between horror and absurd humor, which is even revealed as a premonitory of the subsequent confinement, given its narrative premise of taking place only in the house where the protagonists live. Although chaotic in its development, the typical ending of Shyamalan productions revealed great surprises.
In S2 it seems clearer that they are trying to build a more extensive narrative arc (M. Night Shyamalan has commented that from this season they started to work in a plot that lasts 40 episodes, that is, four seasons). And in a way it's about putting some order into the chaos of S1, especially around the character of Leanne. They certainly do, but without finishing building a homogeneous development.
One of the most interesting characteristics of this series is the selection of directors, mainly from European fantasy and horror films: the French Julia Ducournau does a splendid job in her two episodes, marking a beginning of great visual impact. But there are also the Swiss Lisa Brühlmann, the Swedish Isabella Eklöf or the Hungarian Nimród Antal, apart from two episodes that are reserved by M. Night Shyamalan and his daughter, Ishana Shyamalan.
S2 has an excellent start and a haunting ending, but in the middle of the season it gets repetitive and seems to want to play more clearly on the absurd humor, which is disconcerting at times. The revelation of Leanne as a kind of fallen angel who is able to bring back to life (to Jonathan, but also to Julian), but who behaves like a rebellious angel, opens up the possibilities for a plot that seems to be turning her ever-growing into the real protagonist (in the second season the characters of Julian and Sean are a bit blurred). And the end of the season, with the entrance of Josephine, promises more than they possibly end up offering us later.