A total soap opera, filled with uncharismatic characters, with no chemistry between them, mistakes and stupidities in the crime plot, predictability and pointless speeches about morals, sex industry, feminism, depression, love or whatever other subjects. Can't compare it with the first season. It's as if somebody screwed up with the brain of the director and writer. Total waste of time.
I loved the imagery of unreal babies in Jane Campion's episodes. Ariel Kleiman is a strong director and partner. By the end of it, I didn't care what happened to lil ol' Mary. The "new family" dogma proved to be infuriating. Nicole Kidman is stunning in grey. As much as Elisabeth Moss acts beautifully, I started to pine for the idea of Anna Paquin fulfilling this role. Gwendoline Christie is amorphously good.
After a wondrous first season, we descended to the real world of Sydney's sex trade industry and ilegal surrogacy. What threw me off mostly were the many coincides surrounding the investigation and the characters, it felt contrived. Besides, Puss was plain disgusting and Mary was a spoiled brat, I never believed them as a couple. Pyke was a coward. That said, there were also great scenes throughout the 6 episodes.
Worse than the first season. The relationships between characters looked ridiculous. Even though the show tries to tackle modern problems like surrogacy, adoption, sex working, something's missing. There are plot holes, unnecessary drama, that makes crime show look like Australian soap opera.
A bathetic soap opera with a charade of insufferable, navel gazing characters, huge plot holes, and a frankly ineffective didactic message about the horrors of neoliberal surrogacy, modern forms of slavery and corporeal exploitation delivered by a creepy, morally ambivalent pimp. Ok, the real monsters are the normals. But please do not call TOTL:CG a skillful postmodern pastiche. It's just a faux pas.
An utterly compelling and skillfully crafted crime drama, but it had the potential to be more. The interesting ideas - the autobiographical elements with Kidman as Campion, the queasy cafe scenes, the euro/asian clash of the brothel - dissappear as traditional tv crime tropes take up all the time in the second half.