For a series which began in such an unusual way, it is a tremendous shame to see things unfolding in an increasingly predictable manner.
Yes, there were obvious contrivances throughout the original "Summer" storyline but they did however seem comparatively negligible considering the fractured nature of our first protagonist's perceptions of reality - because as we followed the progression through Sam's unreliable perspective - that was filmed & edited with the intention of being deliberately disorientating - the plot's inconsistencies were thankfully indistinguishable from the rest of the hallucinagenic madness - so not only did incoherences not seem to matter as much but our minds rarely noticed them, disregarding any that did surface as part of his gradual, psychological deterioration. Furthermore, when he was repeatedly misled & lied to by the townsfolk who live upon the island, it was easier for audiences to believe how he'd fall for their deceptions - as somebody with a mental state as vulnerable as his could've certainly been unknowingly exploited by those who meant to do him harm.
Unfortunately, "Winter" doesn't have that same advantage; the filmmakers at the helm of this sequel seem to have to work twice as hard at crafting everything, being unable rely upon a person's personal insanity to distract us from / cancel out the insanity of the narrative. That major weakness is exposed again here; characters are far more perceptible & self-aware & so as a consequence, the editing reflects this stark difference by crafting sequences in a familiarly naturalistic, chronological order. It's clearer to understand & thus, the beats are far more easier to anticipate - as anybody who's conscious of how scenes are composed can (after a while) begin to notice forming patterns which are usually reliable to foresee once you realise how they're constructed. Hence, due to the more traditional approach, the crazier absurdities in the episode conflict with the normality of Philippa Lowthorpe's style of stripped-back direction. That means the former ridiculousness that preceded her new installment seems far harder to believe as a result.
Now, this arguably wouldn't have mattered as much if the two tales were kept separate - because at least then they potentially could diverge & do their own things - but as one connects closely to the other, it's like mixing milk with vinegar... The two are fine when they're apart but together, they don't mix to form anything I'd recommend you digest. By next week when they evidently culminate in one final product, I'm not expecting anything palatable.
Yes, there were obvious contrivances throughout the original "Summer" storyline but they did however seem comparatively negligible considering the fractured nature of our first protagonist's perceptions of reality - because as we followed the progression through Sam's unreliable perspective - that was filmed & edited with the intention of being deliberately disorientating - the plot's inconsistencies were thankfully indistinguishable from the rest of the hallucinagenic madness - so not only did incoherences not seem to matter as much but our minds rarely noticed them, disregarding any that did surface as part of his gradual, psychological deterioration. Furthermore, when he was repeatedly misled & lied to by the townsfolk who live upon the island, it was easier for audiences to believe how he'd fall for their deceptions - as somebody with a mental state as vulnerable as his could've certainly been unknowingly exploited by those who meant to do him harm.
Unfortunately, "Winter" doesn't have that same advantage; the filmmakers at the helm of this sequel seem to have to work twice as hard at crafting everything, being unable rely upon a person's personal insanity to distract us from / cancel out the insanity of the narrative. That major weakness is exposed again here; characters are far more perceptible & self-aware & so as a consequence, the editing reflects this stark difference by crafting sequences in a familiarly naturalistic, chronological order. It's clearer to understand & thus, the beats are far more easier to anticipate - as anybody who's conscious of how scenes are composed can (after a while) begin to notice forming patterns which are usually reliable to foresee once you realise how they're constructed. Hence, due to the more traditional approach, the crazier absurdities in the episode conflict with the normality of Philippa Lowthorpe's style of stripped-back direction. That means the former ridiculousness that preceded her new installment seems far harder to believe as a result.
Now, this arguably wouldn't have mattered as much if the two tales were kept separate - because at least then they potentially could diverge & do their own things - but as one connects closely to the other, it's like mixing milk with vinegar... The two are fine when they're apart but together, they don't mix to form anything I'd recommend you digest. By next week when they evidently culminate in one final product, I'm not expecting anything palatable.
