I am very pleased to be able to say that this second series pretty much maintained the standard of the first. The variety of visual techniques on display remains an illuminating joy - although sometimes frustrating for me in that I do not have the correct vocabulary to describe it. The stories themselves, as ever, vary from highly recognisable societies, whether on here or another planet, to purely human stories to more technologically based ones - but always with emotional engagement for the viewer.
And so to the episodes.
Automated Customer Service: This was probably the lightest of the series but none the worse for that. It casts a very funny, somewhat bleak view of a future probably not too far from now, where household machines can do everything for a human - other than live for them - but with the usual dangers that come with rigid high levels of machine intelligence. In addition, some things never change or improve, as is suggested by the title. The setting - a Florida-style retirement complex - was very well shown and the perfect setting for this particular story.
Ice: A slightly unusual one as the real focus was on social matters and relationships, although the setting was a futuristic one where an ice-covered planet has been colonised by humans who have all been modified to give them superpowers. The brother of one has not though but in a challenge he joins with his friends, he is able to feel more at home and become accepted by his peers which had not happened before. The visual style of this piece was fascinating - very edgily angular and with minimal colour, except for the appearance of the breaching whales which provided the focus and climax to the story.
Pop Squad: A bleakly futuristic tale where human immortality means that procreation is forbidden and squads are sent to dispose of these children. The central character, through a personal encounter, begins to question what he does but the bleak ending does not hold out much hope. The society where the ‘immortals’ live is far above the ground, while the world on an earth that has largely been taken over by nature and where non-members of the elite live was redolent of the two worlds of Blade Runner. A more slow-moving but powerful episode. The two worlds were very well differentiated visually with green lushness on the earth and icy clear geometrics ‘above the clouds’.
Snow in the Desert: Somewhat less engaging, although by the end, the two ‘outsider’ characters, who both had the benefit/curse of an almost in finitely long life, in their coming together was quite moving although it did take a little time in getting there and development of it would have been interesting.
The Tall Grass: As above, something if a little ‘squib’ that was decently entertaining, but did not stick in the mind or memory. It recalled Stephen King.
All Through The House: The briefest but great fun. Two children who creep downstairs to see Santa visit have a big surprise. I will not say any more as it would spoil it - but I did love the clear homage to Alien in one brief scene…
Life Hutch: Very good. No great originality but the telling of the story - a fight for survival against a malfunctioning robot - was very well done -and the flashback visuals of the interstellar fight that led to the drama’s situation were wonderfully depicted. It goes to show that it is HOW one tells a story that really matters, not necessarily the great originality of that story - although that is always a great bonus.
The Drowned Giant: For me, this was the best of the bunch. Completely unlike any of the others, it’s a slow and meditative piece about a scientist’s reaction to a massive human-appearing body that washes up on a beach. No explanation is given or even hinted at, but the reactions and responses of society, as epitomised by the people of the town, were mournfully and powerfully shown. Very fine indeed.