**Spoilers for Season 2 of “The OA,” which hit Netflix today. You’ve been warned.**

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“SUPERIMPOSE: 7 HOURS 46 MINUTES EARLIER…

EXT. WINDY ROAD – NIGHT

We hear knocking sounds, after which the camera CUTS TO a MAN, ripped jeans, skateboarding down a dark, steep road. He sees a woman in a shiny, red dress on the side of the road.

Distracted, he loses control and flies off of a cliff and onto the rocky shores below to an uncertain doom.

CUT TO BLACK:

INT. BOAT – NIGHT

KARIM (30), a tall, level-headed, stoic, cynical detective, awakes from a nightmare in his boat on FISHERMAN’S WHARF to the same knocking sounds that preceded the skateboarder’s death.”

Who is the woman in the red dress? Who is the skateboarder? What is the significance of Karim’s (Kingsley Ben-Adir) nightmare? And those are just the first 30 seconds of Part II.

“The OA” is blowing the minds of religious and casual television viewers alike, all over again, in its sophomore season. Many fans questioned why it took creators Brit Marling and Zal Batmanglij 27 months to release the second season, from the first season’s premiere date to the second season’s. Well, this isn’t a typical show. There is no “pattern narrative,” wherein writers and cycle in and out of a writer’s room and follow a narrative formula. They are drawing from their own imaginations, building a narrative from scratch every episode. Each chapter varies in “length, scope, and even genre,” according to Marling. Subsequently, “pattern budgets” can’t be applied to this style of filmmaking. One episode’s budget formula couldn’t be applied to the rest of the episodes’. Furthermore, instead of writing each episode as they went, they wrote the entire second season before filming, making it easier on Marling, also the star.

Read the rest of the article at The Playlist.