Not only is tea time upon all the weirdos who choose to partake, but IT time is as well, which means that morally problematic overseers are once again trying to control the truth. For its second season, we're going back into Silo, the dystopian drama that is adapting Hugh Howey's series of novels of the same name. Set immediately in the aftermath of season one finale, Juliette Nichols (Rebecca Ferguson) is roaming towards "Silo 17" after having left her home silo, now known as Silo 18. Stumbling over corpses of Silo 17's presumed citizens near and inside the entrance, she makes her way into the abandoned and damaged areas, seen at first in a flashback that opens the season. Eventually, and after some impressive feats of resourcefulness, Juliette finds a locked vault, inside which lives an offbeat man named Solo (Steve Zahn) who's seemingly the last surviving citizen of this silo.
Meanwhile, Silo 18's head of IT Bernard Holland (Tim Robbins) and head of security Robert Sims (Common) try to control the narrative regarding Juliette's possible survival and impact, which might be inspiring a revolution led by Juliette's allies Martha Walker (Harriet Walter), Shirley Campbell (Remmie Milner) and Knox (Shane McRae). Involved in the matters also are data analyst Lukas Kyle (Avi Nash), sheriff Paul Billings (Chinaza Uche) and head of Judicial Mary Meadows (Tanya Moodie).
There's beauty in harmony and so it's only fitting, and also quite likely reassuring, that since we're pretty much picking up where we left off, you'll be happy to find out that everything that drew you in during the first run continues to build and evolve throughout this new 10-episode outing. The biggest element contributing to said success is still the craft on display, which results in strong world-building that the writing can then use to develop or motivate the characters.
The series' impeccable production design (Nicole Northridge seizing the set squares and licences for 3D modeling software this season) is still impressive, starting with the treacherous, silent journey that Juliette is on in the first episode. The spaces feel like they have history and life in them, and how everything blends with VFX (supervised by Daniel Rauchwerger) is tastefully done (the rare, fully CG establishing shot of a front and guards that look like NPCs in a video game is therefore exponentially more jarring and uglier). Composer Atli Örvarsson's funereal ambient score fills the spaces between despite relying on themes more this time around and there are also a few cool stunt sequences thrown in to up the stakes every now and then.
Showrunner Graham Yost and his writers' room (including Aric Avelino) use the world-building to explore different forms of control, whether that extends to surveillance, education, authority or information; all which are unfortunately relevant as scenes can remind you of real-life examples of unchecked power, fascist political moves regarding law and protests bringing attention to genocide or militaristic rule. Despite adding some stunt-heavy action, the show as a whole will frustrate viewers who are most interested in plot—and rightfully so because that is a miserable existence—as the writers are digging into atmosphere and allegories instead. No more simple-minded murder mysteries to pull you in, you're either in or out now.
That focus doesn't come without a few flaws, however, since the first season's momentum driven by the figurative and literal ascension of Juliette and the "truth" alongside her isn't exactly matched this season. Episodes one, three and nine do have momentum because they act as the descent into the unknown, but otherwise bouncing between storylines in the two different silos can be slightly uneven. All the actors in Silo 18 do a solid job (though the decision to have everyone do vague American-ish accents might've been a mistake), and directors (including Amber Templemore and Michael Dinner) and editors (including Harvey Rosenstock, Hazel Baillie and Jamie Alain) try their best to keep things lively, but the narrative over at Silo 17 is just several levels above in terms of absorption and the shifts feel awkward sometimes.
It's probably not lost on anyone watching the show that a big reason why the Silo 17 storyline works much better is because of Ferguson in the lead role. She's just fascinating as Juliette, providing the kind of charisma and intensity with her expressions and body language that the dramatic tension needs at any given moment. She also gets a wonderful dance partner in Zahn who brings a much needed unpredictable yet psychologically complex element into the series. The material for him and his line deliveries also elevate the show's previous weakness, which was the generic dialogue and utter lack of levity (I like to live in a dystopia where someone discovered this problem from a certain review of the first season. Don't burst my bubble, please.). Either way, the back-and-forth between Ferguson and Zahn, and a few mysterious characters in the latter half of the season, turns into delicious drama thanks to their performances.
Even though this sophomore run's momentum pales ever so slightly in comparison to the first season, the finale manages to connect most of the threads in a way that proves that the series still has plenty of materials in its vault to keep going and earn its final two (confirmed) seasons. When you have such awe-inspiring world-building, compelling performers like Ferguson and Zahn, and confidence in the story's thematic depth, it's tempting to join the quiet revolution led by Juliette. Now, where's the fire extinguisher?
Smileys: Production design, Steve Zahn, Rebecca Ferguson, score
Frowneys: Structure
Is he Solo Goodman or Solo Badman? Watch and find out.
4.0/5
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