Time Season 2 Review: Staggering Drama Demands to be Seen

The debut season of Jimmy McGovern’s searing prison drama Time was a tour de force that enraptured critics and audiences alike. Sean Bean’s haunting performance as a remorseful inmate trapped in a crumbling penal system was rightly lauded, capturing the show’s stark, unflinching examination of guilt, violence and the oppressive banality of incarceration.

Complemented by Stephen Graham’s layered turn as a compromised officer, the series secured BAFTA glory and cemented itself as one of 2021’s most vital, profound works of television. While initially conceived as a self-contained masterwork, Time’s searing emotional truth and blistering social commentary evidently demanded further exploration.

For its sophomore outing, McGovern pivots from the male prison experience to an insular, oft-overlooked world – the harsh realities and complex human stories pulsing within a women’s correctional facility. With a deft new co-writer, Helen Black, he trains his unflinching lens on three indelible new protagonists, illuminating the myriad struggles, systemic injustices and tragedy that await them behind those unforgiving walls.

Harrowing Tales from Behind the Razor Wire

At the core of Time’s gripping second season burn three interwoven character arcs that lay bare the manifold agonies of Britain’s prison system from a distinctly feminine perspective. We first encounter Orla, brilliantly inhabited by Jodie Whittaker, as a single mother of three who finds herself incarcerated for the relatively innocuous crime of tampering with her electricity meter to alleviate mounting financial strain. Her waking nightmare has only just begun, however, as she grapples with the all-consuming fear of potentially losing her children to foster care during her short sentence.

Alongside Orla enters the young, sardonic Kelsey, depicted with searing authenticity by Bella Ramsey. A heroin addict whose addiction has only metastasized since her last stint behind bars, Kelsey carries an even heavier burden – an unexpected pregnancy courtesy of her drug-dealing boyfriend. As she wrestles with whether to terminate or strategically leverage the baby’s arrival to her legal advantage, Kelsey finds herself at a existential crossroads few anguished souls could imagine.

Finally, there is Abi, the enigmatic, standoffish lifer seamlessly embodied by Tamara Lawrance. While few details are initially provided regarding her actual crime, it soon becomes resoundingly clear that a deep well of sorrow and guilt haunts this complicated woman. As her traumatic backstory gradually unshrouds, her path alarmingly intersects with Orla and Kelsey’s in profoundly moving ways.

Bound by disparate hardships yet an innate sisterhood, their intermingled journeys of loss, regret and the faintest glimmers of hope comprise a searing, empathetic portrait of female incarceration at its most vividly unsparing.

Towering Performances From a Phenomenal Ensemble

Anchoring Time’s blisteringly intimate character tapestry are three phenomenal lead performances that imbue extraordinary depth and rawness into McGovern’s anguished protagonists. As the wrongfully incarcerated Orla, Jodie Whittaker is nothing short of a revelation, her aching portrayal of a devastated mother escalating from blind panic to simmering fury with each injustice thrust upon her family.

Orla is battered but unbroken, and Whittaker traverses complex emotional shadings – tenderness battling ferocity, dignity warring with desperation. When Orla’s children are finally permitted a fraught prison visit, the actress’s searing embodiment of a parent’s tortured yearning cuts to the soul.

If Whittaker lends an everymom everywoman quality, Bella Ramsey terrifies and inspires as Kelsey, the drug-addicted teen treading the tightrope between self-destruction and the faintest redemption. Ramsey’s wholly inhabited characterization is technically astounding – capturing Kelsey’s haunted desperation through mannerisms and line delivery so authentic one can practically see the young woman’s life unraveling before their eyes.

Yet beneath the hard-bitten exterior lies a startling vulnerability that Ramsey wields like a defiant superpower, slowly allowing glimmers of hope to perforate her defenses. It’s a multilayered turn that simply staggers.

On the opposite end of the incarceration spectrum is Abi, powerfully essayed by Tamara Lawrance. Initially shrouded in implacable mystery, Abi steadily reveals layers of heartbreaking trauma, violent guilt and profound grief through Lawrance’s transfixingly reserved yet devastating performance.

A woman of ostensible privilege now dislocated among outcasts, Abi’s very presence is a silent rebuke, and Lawrance wields solemn authority and a riveting sense of alienation. When her character’s backstory at last unfurls, the actress charts an exquisite arc of catharsis so real and unvarnished, it’s difficult to delineate fiction from truth.

The extraordinary lead trio are ably elevated by returning Time player Siobhan Finneran as the infinitely empathetic prison chaplain Sister Marie-Louise, serving as the audience’s eyes and ears into the volatile penitentiary culture. Finneran suffuses her every scene with a grounded compassion and spirituality undiminished by the system’s harsh realities.

Among the standout supporting ensemble are Sophie Willan as a mother fearing the death of her last familial bond, and Faye McKeever, heartbreakingly raw as a lover torn apart from her partner. Across the board, Time resonates with performances that transcend mere “actorly” affectations to reveal the staggering emotional truth of lives devalued by the scales of justice.

Searing Societal Mirrors Forged Behind Bars

While its predecessor so deftly grappled with masculine notions of guilt, absolution and the internal prisons we construct, Time’s latest thematic exploration cuts directly to the heart of issues that have long shackled the oppressed – particularly women. At every turn, McGovern and co-writer Helen Black wield an unflinching lens to the grim specter of motherhood perverted by poverty and incarceration.

For Orla and others, even the most minor offenses borne of economic desperation are met with draconian removal from their children’s lives. We witness the searing indignities of a system more concerned with punitive sentencing than preserving the sanctity of the family unit. Whittaker’s raw devastation when denied the ability to simply locate her kids speaks visceral volumes about how swiftly societal neglect can dissolve the maternal bond.

Conversely, Kelsey’s journey casts an equally vital light on the intersection of addiction, criminality, and the devastating delusions to which some fallen women still cling – in her case, strategically using pregnancy to potentially secure judicial leniency. Ramsey’s startling vulnerability belies a shrouded naivete, a young woman failed by her environment now conscripting her own offspring as a judicial bargaining chip.

No less harrowing are the overarching dignities stripped from these incarcerated women at every turn, from lack of basic feminine hygiene products to the severance from loved ones wrought by rigid bureaucracy. Even the most minor creature comforts are positioned as rewards to be bestowed by a system that views inmates as subhuman statistics rather than individuals striving for redemption.

At its scorching core, McGovern’s latest opus illustrates how the criminal justice construct is systemically engineered to dehumanize rather than rehabilitate those already ground down by socioeconomic circumstance. The prison-industrial complex emerges as another diabolical arm of oppression leveraged against society’s most vulnerable – perpetuating cycles of generational trauma, violence and despair rather than enacting substantive change or offering paths to reform. This latest chapter of Time pulls off the bandage to expose those abject failings in ulcerating dramatic detail.

Uncompromising Verisimilitude Behind the Lens

Just as McGovern and Black’s writing strips away any pretense to examine incarceration’s darkest truths, so too does the direction and visual aesthetics of Time immerse the viewer in an unvarnished prison microcosm. Director Andrea Harkin’s camera lingers on the cramped, drab confines with borderline voyeuristic intimacy – austere handheld framings that amplify the suffocating ennui and psychological strain.

The contained, almost documentary-like visual approach is by design, casting harsh illumination on the squalid living conditions and dreary landscapes that comprise these characters’ entire worlds. From the dingy, barrack-like communal quarters to the cold brick wards of solitary confinement, production design saturates every frame with a palpable sense of institutionalized misery and dehumanization.

This unblinking verisimilitude extends to the exceptional sound design, which aurally thrusts viewers into the jarring, cacophonous depths of incarcerated existence. The echoing crescendos of verbal confrontation, ever-present din of creaking infrastructure and industrial hums coalesce into an atmospheric dread that transcends mere background ambiance. It is an acoustic evocation of confinement as spiritual death by a thousand societal cuts.

These inspired aesthetic choices elevate Time’s already potent narrative into a fully immersive descent into the criminal justice abyss. Through the gritty audiovisual craftsmanship, this merciless realm of loss, fear and systemic oppression becomes chillingly palpable – a masterclass in discomfiting dramatic authenticity.

Transcending Boundaries, Sharpening the Focus

While fundamentally anchored in the same bleak dramatic foundations as its acclaimed predecessor, Time’s sophomore chapter decisively transcends mere gender-swapped repetition. More than simply refracting the brutal existences of male inmates through a feminine prism, this latest offering carves out its own distinctive thematic territory and profound substance.

Whereas the first season grappled with thorny questions of guilt, redemption and masochistic self-punishment through Sean Bean’s searing central performance, the new episodes train their lens on decidedly feminine constructs – the sanctity of motherhood, the impacts of trauma and addiction, and the cyclical oppression that preys upon society’s most vulnerable. The very specific female experiences and systemic indignities McGovern unflinchingly depicts are foreign to Season 1’s more introspective characterizations.

Yet for all its distinct tonal shadings and perspectives, Season 2 retains the blistering emotional intensity and gripping authenticity that rendered the original so haunting. The ensemble is equally monumental, with the trio of Jodie Whittaker, Bella Ramsey and Tamara Lawrance constructing towering portrayals that both rivetingly individuate their characters yet unify into a lacerating condemnation of injustice.

Viscerally extending McGovern’s overarching examinations of institutional failure, malignant bureaucracy and the perpetuation of generational anguish, Time’s latest harrowing verses maintain a startling creative proficiency while driving the narrative into darker, more hauntingly introspective territory. It is both a quintessential extension and a boldly illuminating departure – a riveting juggling act of brutal consistency and thematic evolution.

Profound Storytelling from the Depths of Human Anguish

In reassessing the merits of Time’s searing second season, one is left reeling from the accumulative emotional impact of its raw, devastating exploration of lives shattered by systemic injustice. Through the vivid characterizations of Orla, Kelsey, and Abi, McGovern and Black have distilled the very essences of motherhood, addiction, trauma, and societal oppression into a concussive dramatic tour de force.

At every turn, the writers wield unflinching honesty as both a dramatic instrument and a clarion call for empathy – shattering preconceptions about the dehumanized populations cast aside by the prison industrial complex. From searing sociopolitical commentary to exquisitely modulated character work, their scripts set an enormously high bar that the equally phenomenal ensemble transcends at every turn.

Jodie Whittaker, Bella Ramsey, and Tamara Lawrance don’t simply inhabit their roles, they viscerally encapsulate every psychological, emotional, and spiritual facet of their harrowing existences. Supported by the ensemble’s stunning work, this is an acting masterclass of searing authenticity fused with devastating vulnerability. One need only be witness to Whittaker’s primal screams of maternal anguish to be undone.

Ultimately, Time’s magnificently uncompromising second season stands as a stunningly emphatic statement – a muscular creative juggernaut that pulls no punches, shed no tears, and takes no prisoners in its exposing the rot implicit in Britain’s criminal justice construct. It is a watchtower beacon of empathetic storytelling flowered from the trenches of suffering. An essential, ennobling dramatic triumph.

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