Helix: Season 2
The SyFy Channel gained a reputation for tautly written, ideally cast original programming that goes beyond the normal girl television science fiction by depending on strong influences from other genres. Examined political intrigue, bigotry and even delve deeply into interpersonal relationships. "With the series ‘Helix’ the network has added exceptionally strongly instructed mystery seasons with just the right amount of corporate conspiracy in the isolated cult just to answer intrigue to an already highly enigmatic story. In some ways reminiscent of ‘Lost’, the story unfold between several point of view characters each with their own back story that is teasingly revealed at a slow pace. In a long honored tradition of science fiction the driving force behind the story is called from one of the current fears that pervade much of the population; genetic manipulation, specifically webinars viruses. Every new technology has the potential to be used for either good or evil, axiomatic since the discovery of fire. In the 1880s the most frightening technology was electricity followed in the 50s by science’s burgeoning use of atomic energy. Now we have gone beyond the atom and able to rearrange the very building blocks of life itself, DNA. Arguably the most role-played aspect of ‘Helix’, is how the show’s creator, Cameron Porsandeh is able to move the story forward on keeping the audience, and most of the characters, and how the circumstances that led to the current dire duration came about. It was this element of mystery that was exceedingly well played out by constantly keep the views in the state of needing to know more. But as often happens if a sufficient amount the truth is repel for too long a time the result is general frustration. Such delays were to be expected and are even necessary during the first season during the second season examined here much more was revealed that much more of these core truths needed to be revered in a timely fashion. Instead a complete change in setting the word about an entirely new set of characters whose past and present complicated matters further.
At the end of the first season the biological research station in the Arctic experienced a viral outbreak that necessitated a CDC investigation team. Most of the main characters that carried over to season two were introduced at this point as well as the all-important sinister corporation, the Ilaria Corporation. As we would come to learn Corporation was founded by still controlled by a group of immortals who accept for violent death able to live forever. The head of the research facility in one of the founding members of the Corporation is Dr. Hiroshi Hatake (Hiroyuki Sanada) and as it turns out one of the main researches, Dr. Julia Walker (Kyra Zagorsky) is his daughter she was also romantically involved with a pair of brothers with prominent positions in the CDC, Dr. Alan Farragut (Billy Campbell) and Dr. Peter Farragut (Neil Napier). At the end of the first season Alan destroyed the Arctic facility and subsequently attempted to bomb the headquarters of the Corporation. This marked him as a terrorist forcing him to go off the grid. As the second season begins there’s a viral outbreak on a ship once again necessitating a CDC response team this time headed by Peter. Among his team is Dr. Sarah Jordan (Jordan Hayes) much younger researcher has been linked to both brothers. Unbeknownst to most people she has two secrets; due to a transfer in spinal fluid necessary to save a life she is now in a more and she is pregnant. The rate of gestation has been severely altered to the first trimester has been extended too many months. The point of view of the audience this means that her attractive figure is not padded by artificial prosthetics.
They traced a possible source of infection of island of St. Germain that is the home to a small self-sufficient community of isolationist. Even a cursory examination reveals that this is more of a cult than just an innocent group of people wanting to remain apart from the world. The leader of the community is Brother Michael (Steven Weber) was always surrounded by three female associates; elderly Sister Agnes (Clare Coulter), middle-aged Sister Anne (Severn Thompson) and youthful Sister Amy (Alison Louder). Initially they may seem to be some form of polygamy with the women bound as sister wives but when this truth is revealed it is far stranger and more ominous. The women try to keep the CDC investigators out from the objecting to their investigations but the evidence genial Brother Michael eventually seems eager to help. As Peter and his team begin to investigate they discover that the promised access is not as all-inclusive as they had that they had been led to believe. Furthermore, Peter comes or courses fugitive brother Alan undercover as a field worker and part of the community.
As the investigation of the virus outbreak continues on the island the audiences alternated between that time and 30 years beyond that current time. There Julia is investigating the island which is now been deserted for many years. Since she is immortal she looks exactly the same as when we last saw her in the Arctic. So does her father, Hiroshi. There is still some faction attempting to protect remaining secrets even if it takes extreme and deadly methods. The episodes are basically modified what day it is for the main group in our present. We see the number by rapidly as we move 30 years and their future. Some of the same issues that even the most diehard fans complained about with regard to ‘Lost’ unfortunately repeated here the narrative was obviously fragmented as the point of view ships back and forth 30 years. Perhaps if the audience was made privy to further details as to the origin of immortals and precisely how it affects the metabolism to afford such longevity, things might have fared a somewhat better.
I realize that it is virtually mandatory to infuse some of the defining characteristics of a soap opera to a wide variety of genres, science fiction. The rationale behind this is mandated by the studio executives and from their perspective based on sound principles; they work and keeping an audience. It also the potential appeal of the series to have such plot contrivances as romantic triangles highly dysfunctional families and it very powerful Corporation solely controlled and astragal to the agenda of a small tightly bound all family. While most of these traits are handled with sufficient style to help in the end of the story if the premise of the story the man such a high degree of subterfuge and convolution it would seem to be a better idea to reduce the number of side plots in order to maintain a dynamic from the perspective of the audience. This unusual considering most frequently publicly cited executive producer of the show is Ronald D. Moore the most respected figures science fiction today. RDM was the prime motivator in making the SyFy channel or the most popular sources of original programming on cable Battle Star Galactica. Perhaps he was pulled away too often was of the hit series ‘Outlander’, which also relies upon transverse and time periods by the protagonist. This is not to say that the series is in any way unworthy of your time to watch. It is certainly one of the most interesting concepts to come across television in quite a while. This is just a case incredible great amount of talent both in front of and behind the camera that unfortunately could not achieve the synergy necessary to reach its full potential. According to published trivia about the series RDM had originally envisioned this as a six-hour miniseries. The process of tightening up the pacing and streamlining some of the events would’ve been extremely interesting to see if for no other reason than a comparison and how is the same story can be told in vastly different formats.