Alright! Season two of Sense8 is here and the world is a little bit better.
Sense8 is one of the most visionary, original TV shows I’ve ever seen. Shot on location all across the world with characters from seven different countries and incredible production value, not to mention highly-involved action sequences, there’s simply nothing else like Sense8 on TV, streaming or otherwise. The show just oozes creative vision and cinematic sensibilities and it’s awesome.
The premise of Sense8 is that eight people across Europe, Africa, Asia, and the Americas end up mentally linked through some magic-y sci-fi stuff, allowing them to telepathically visit each other and share their skills, knowledge, and perspectives on life. And while there is some meta story going on, the first season especially pretty much focuses entirely on these eight characters’ different plotlines–Capheus as a bus driver in Kenya, Will as a cop in Chicago, etc.–and how their newfound connection allows them to better handle their situations. The show uses its sci-fi concept to explore the ways in which we’re connected as humans, how we have more similarities than we might think and how much our lives are improved by using our capacity of empathy. That message happens to be right up my alley and it’s one of my favorite things about the show.
I was impressed by how season two furthered the meta plot, though–where a lot of shows either overexplain or underexplain their central mysteries, Sense8 uses a sort of dreamy, vague method of exposition for its underlying story that allows the viewer to follow what’s going on without explicitly giving away anything. Additionally, the show expanded its mythology in other ways by introducing new sensates with their own agendas and relations to the nefarious BPO. The whole concept of the sensaste archipelago, allowing for indirect communication via a chain of connected sensates, was especially interesting.
I don’t think Sense8 is without faults, though. By having eight main characters and seven or eight concurrent plotlines, the show is unable to have a meaningful sense of structure–there’s simply no room for per-episode plots or a great deal of momentum to any given plotline when each character only gets an average of an hour and a half of screentime per season. This has the tendency of leaving the show without much underlying tension or drive, especially with how the show tends to give its scenes a lot of time to breathe. This works great with the action sequences, which can get really long and elaborate and intense, but can drag when the show gets conversation-heavy.
On the other hand, I do appreciate how fully the show utilizes its medium. The visual language of the show does such an evocative job of portraying a reality-breaking sci-fi concept that I don’t think it could work outside of TV or film, but no movie could handle this many characters and storylines. Combined with the aforementioned filmic qualities of the show in terms of cinematography and scope (which are easier to get when you’re filming on location, I imagine), it really stands out as a completely realized, masterfully-envisioned creative work.
Getting a little more specific, I have to say that I was a little disappointed with the final half or so of the last episode of season two. It seemed to cover about 40 minutes of screentime in half that, leaving what should have been a really big moment–the sensates all meeting each other in person–as an aside in the rush to get to the final moments. I understand that the writers wanted to avoid feeling repetitious to the BPO break-in that capped season one, but I think there could have been a more elegant way to accomplish what they wanted.
Still, that’s a minor quibble in the grand scheme of things, and it was a pretty thrilling sequence even if it had some unfulfilled potential. There’s just nothing else like Sense8 and after two seasons the originality of the show isn’t even beginning to fade.