There’s next to no that can be said about Homecoming Season 2 without wandering into spoiler territory, so we should start with this: Anyone who adored the ambiguous consummation of Amazon Prime’s first season, especially on the off chance that you were taken by the significant association between Walter Cruz (Stephan James) and Heidi Bergman (Julia Roberts), should go into Season 2 with alert.
It isn’t so much that podcast creators and series showrunners Eli Horowitz and Micah Bloomberg give a conclusive answer as to what or who Walter remembers after his “treatment” at the Homecoming office (however they kinda do), or even that they’re dismissive toward that impactful last moment so wonderfully composed via Season 1 director Sam Esmail — a long way from it.
Homecoming Season 2: Premiere
Homecoming Season 2 opens with Janelle Monáe in a boat — so far so good! Confused, alone, and too overpowered to shield her telephone from falling in the water, Monáe’s anonymous character (that is a spoiler!) looks around and sees a man on the shore. Yet, when she yells for help, instead of saying anything back, he flees.
From that point, Monáe has to hand-paddle her approach to shore, then climb to a remote street, lastly hitch a ride to the “People” who inspire the episode’s title. After a stop at the hospital can’t clarify why she lost her memories, Monáe befriends a divorced person named Buddy (John Billingsley) who helps her follow what not many clues she has to a bar, a lodging, and a vehicle.
Everybody engaged with creating Season 2, including new full-time director Kyle Patrick Alvarez (“The Stanford Prison Experiment”), seems hellbent on recounting to a story that exists on the outskirts of what preceded. That helps distance the new episodes from a set that previously nailed its closure, however, the rest of the ties create annoying questions that undermine pristine memories of the O.G. “H.C.” Worse still, such a large number of aspects of Season 2 suffer, by comparison, leaving audiences with numerous questions concerning why this new story must be recounted as what the story itself has to say.
Episode 1 spends its full 30 minutes with Monáe, and not knowing what her identity is or how she wound up stranded in a kayak makes for a connecting early mystery. Still, this is the second season of “Homecoming,” and considering the first season focused on a drug that erased people’s memories, it’s somewhat silly to spend whenever questioning why Monáe doesn’t have the foggiest idea about her name.
Episode 2 starts to expose similar flaws as it shifts perspective to Audrey (Hong Chau), who you may recall from Season 1’s post-credits scene when she terminated Colin Belfast (Bobby Cannavale), the man behind the Homecoming activity. Presently, she appears to be running things at The Geist Corporation, alongside organization organizer and devoted plant specialist Leonard Geist (Chris Cooper). While there’s a decent surprise toward the finish of the second half-hour, the debilitating structure foretells problems before Episode 3 jumps back so as to clarify precisely what everyone’s identity is.
Here are the place spoilers become necessary to discuss what goes amiss with Season 2, so on the off chance that you haven’t yet watched or don’t have any desire to comprehend what happens in any case, here are a couple of last expansive thoughts on what’s lost in “Homecoming” Season 2: The heading mirrors the irritable contrast between foggy mysteries and sharp revelations. Yet minus the stylistic flourishes in movement, blocking, and respect; the composing invites questions with solid answers, however, there are lots of problems with where things end up, and the performances are solid, yet confined by a story that limits any intensity, not to mention liking, for these new characters.
Alright, answer time: So it turns out Monáe is a fixer named Alex. At the point when we’re acquainted with her pre-amnesia life toward the start of Episode 3, a couple of days before she ends up on the boat, Alex is listening to a representative’s sexual harassment protest and secretly dissuading her from pressing charges.
Truth is stranger than fiction: She’s basically battling the #MeToo movement, helping companies conceal any terrible conduct that could demonstrate costly or embarrassing, and that is her all day work: When an organization gets in a difficult situation, she steps in to secure the organization and dispose of the victim, regardless of whether her methods aren’t 100 percent legitimate.
Alex is also living with Audrey, and however they allude to one another as girlfriends, they’re sufficiently serious to discuss kids and serious enough for Alex to use her skills to help Audrey at work. Audrey didn’t actually acquire her advancement; following Alex’s direction, she took it — first, by conning Colin into signing that confession, then getting him ousted for what he confessed to, then sliding in to assume control over his leadership position subsequent to starting as the organization secretary.
She did this, to some degree, because she’s been neglected for a really long time, as prove by a scene when she asks an associate in the event that she can test out ideas in the first part of the day meeting, just to be shut down and see her ideas stolen.
However, after Audrey takes control, she soon encounters an issue: The Homecoming program, which she just attempted to cover, has a loose end in Walter Cruz. Following his coffee shop conversation with Heidi, Walter suffers some upsetting flashbacks and gets into an auto crash.
At the point when he tries to pass off the memory assault as an eventual outcome of his mind surgery, the specialist tells Walter he never had surgery. So Walter goes chasing for his clinical records, which leads him back to Geist, which leads Audrey to stress, which leads Alex to step in and say she’ll “fix” things with Walter.
These kinds of smoke screens and connections are actually what conspiracy thrillers rely upon, and they’re a piece of what made Season 1 so convincing. Be that as it may, the underlying “Homecoming” focused on Heidi and Walter, the last a guiltless veteran who was experimented on by a voracious enterprise as well as an unfeeling government, and the previous a woman who’s attempting to compensate for past mistakes she can’t recollect.
Depending on empathetic, connecting with characters (who also happen to have incredible chemistry) to disentangle a sickening mystery is a certain something, yet Season 2 relies on Alex and Audrey to usurp expectations before uncovering their noxious backstories. Alex can’t recollect her past mistakes, however, she’s not actually attempting to compensate for them. Audrey knows full well what she’s doing, and she doesn’t give it a second thought. Them two are viably antiheroes, and they suck up a great deal of the accounts, despite the fact that Walter remains at the center of Season 2’s curve.
“Homecoming” ends with Walter and Mr. Geist conspiring to drug everybody at The Geist Corporation so the government can’t use its special berries for nefarious purposes. Mr. Geist concocts a major dose of memory-cleaning drugs, and Walter spikes the punch at an organization party with it. Their arrangement works, and everybody from General Bunda (Joan Cusack, who seems ported over from a totally different show) and Audrey, to the sorting room workers and supply clerks, will make some hard memories staying in business with no memory of what their business does.
Once Alex puts all the pieces together and reaches the finish of the season, she’s become, best-case scenario, a slightly progressively compassionate person. Where once stood a woman who might toss victims under the bus for a brisk buck stands someone who will sit with her manipulative ex so she doesn’t need to wake up alone. Is that reason enough to commit three hours to her story? What’s more, shouldn’t something be said about Audrey?
Her last words before losing her memory express lament over not focusing on having a child with Alex — so she figured out how to put people first and focus on what’s so special about what’s as of now before her… directly before she loses it until the end of time. Indeed, even Monáe and Chau, two capable actors, are hamstrung by the limitations of their characters; Monáe spends most of the season either clear confronted and bewildered or clear confronted and hellbent on stopping Walter. Chau can possibly ooze any genuine feeling when she leans into Audrey’s malevolent side, but then this is the couple we’re intended to think about.
The closure doesn’t chip away at a number of levels — how do Walter and Mr. Geist know each and every individual who thought about the berries had their memories wiped? There are certainly people not in the workplace who knew, from Colin to the D.O.D. to everybody working for General Bunda — yet what truly irks me is its clashing messages: If Season 2 is about personality, perceiving the mankind surrounding us, and making people consider how their actions influence others (especially anybody “underneath” them), for what reason is it OK for Walter to neglect the blameless Geist employees he drugs for “the greater good”?
Similar oversights hamper other interpretations of Season 2, similar to when we’re asked to pardon The Geist Corporation and be satisfied with their ruin. It’s clarified Mr. Geist didn’t think about the Homecoming system, and he’s soon transformed into a kindhearted savior who helps Walter when nobody else will. Seeing Chris Cooper watch “Airwolf” and kick butt is always a pleasure, however, it’s somewhat odd in the present day-and-age when private billionaires are benefitting off a worldwide pandemic, to accept a corporate boss whose underlings directed illegal experiments on veterans was totally in obscurity about any awful conduct.
“Homecoming” points the finger at the government instead of Geist, however, in Season 1, it felt like the two parties were in cahoots for inappropriate reasons, so for what reason is it just the government who’s the trouble maker now? (Also, not for little more than, for what reason did a once more, a white, rich person must be the saint of a season driven by two women of shading? Was Amazon getting skittish about its originals painting corporations in a suspicious light?)
The last shot of “Homecoming” sees Walter investigating his personal document from the war, rediscovering the memories that were taken from him as well as the men and women with whom he served. Investigating a list of his individual soldiers, he closes the document and drives off, leaving the Geist enterprise and all its drugged employees behind — presumably to go help any survivors who are confronting the same fluffy past he once did. In any case, directly at the highest priority on that list is Heidi’s name.
So, she either composed the list or approached it, which means, either way, she could’ve given him that document. It could’ve been holding up in his truck when he left the burger joint toward the finish of Season 1, and he could have driven off to enable those soldiers to in that spot and afterward — perhaps with Heidi close by. Alex could’ve stopped General Bunda and Audrey, as well as some other misguided Geist employees, and there would’ve been another legend to this new story. Instead, “Homecoming” Season 2 created two awful women, one white savior, and transformed its blameless legend into someone ready to sacrifice innocents. What a strange approach.