Total Control Season 2 Episode 2 is soon about to arrive on our screens. ABC TV’s Australian political drama thriller by Stuart Page, Angela Betzien, and Pip Carmel returns for a second season. Firstly, this program began in October 2019 with a rather controversial title. And it eventually aired on November 2021, right in the midst of the COVID-19 pandemic onset. But now that’s a thing of the past. Will Rachel Anderson —the show’s main protagonist— be able to face the challenges of handling the reins of power in Australia as Prime Minister? In case you don’t know what we’re referring to. This is Total Control season 2, episode 2.
Total Control has a fine cinematic sense that puts it on par with the best of international television. Close watching is recommended to understand the richness of the visual direction and to enjoy the razor-sharp writing and the intricacies of acting, as well as the sophisticated musical accompaniment. In this article, we are covering the aspects regarding the second episode of the second season. As well as to introduce the broad strokes to everybody that’s new to this show. Without any further ado, let’s begin.
Total Control Season 2 Episode 2 Release Date
Total Control season 2 episode 2 will release on November 14, 2021, on ABC. Firstly, the show airs on Sundays at 8:40 PM. Secondly, this season consists of six episodes. Thirdly, Rachel Perkins (known for her work in Jasper Jones, One Night the Moon and Radiance) directs the show written by Angela Betzien, Pip Carmel, and Stuart Page. Initially, the show was titled Black B*tch. But ABC dismissed the initial title because it deemed it offensive, it was named Total Control instead. In the next section, we will share with you where to watch this show online.
Where to watch Total Control?
If you wish to stream Total Control, the internet gives you a few options to choose from. Firstly, you can either rent or buy this show from different platforms like Google Play. Vudu, iTunes, and Amazon Instant Video. On this last point, you must bear in mind that Instant Video is different from Amazon. Firstly, Amazon Video is separated into two sections: Amazon Prime Video, an all-you-can-watch membership service, and Amazon Instant Video, a pay-per-view shop where you can purchase and rent movies.
Just because something is advertised as a streaming video on Amazon doesn’t imply it’s part of Amazon Prime Video. Films and TV series may be available across both Prime Video and Instant Video, neither, or both. Search for the Prime branding in the upper left corner of a title to see the films included in your free membership. When you search for a film or TV program (on the site or in the Amazon Video app). You can also limit your results to view just “Prime” titles – similar to how you may search for a product listing and filter the results to display only those eligible for Prime delivery. Now, let’s go back to Total Control.
An invitation from the conservative prime minister draws Alex Irving, a feisty local activist from the tiny Queensland town of Winton, into the halls of power in Canberra. The wheels of power often deviate off the straight and narrow in Parliament House’s vast, symmetrical white halls, directed by the prime minister’s Machiavellian hand. Throughout the first season, Irving will be dreadfully manipulated and betrayed. But she will strike back, sticking it to the PM, exposing her betrayal, and eventually removing her, but the legislator will return to Winton as a pariah, to the scorn of the locals who see her as a doublecross, a lackey, a fraud.
When Rachel Griffiths initially offered the television series concept to producer Darren Dale at Blackfella Films, she characterized it as “operatic.” Total Control’s first season, a political drama framed as a struggle of wills between two women, stretched the conflict along a tight emotional highwire. Through abrupt reversals of fortune and periods of enormous intensity. Yet, the season was far from melodramatic in idea or execution. The insightful script keeps the drama firmly grounded in the realities of the national political dynamics – the wheel and deal, backstabbing and jostling for power. This maneuvering kept spectators hooked to the psychological and political stakes of the two characters’ squabble. As well as aware of the implications on the ground for Winton residents – both Indigenous and non-Indigenous – and the country.
Season 2 Plot Summary
Season two, directed by Wayne Blair, begins with a second invitation from Rachel Anderson, but Irving is no greenhorn this time, and Anderson has fallen from favor like a spent meteor. The conflicts between them are far from finished, but they are now on a more equal stepping, and the gloves are off, as Irving gives the “privileged white b*tch who drinks single malt whiskey” all she has. Irving is an extremely complicated character who is “flawed” and “unhinged”. Yet has a strong sense of justice and a “spine of steel.” She is dedicated to her family and community. Irving explains it just as it is. There’s a lot here that might strike a sensitive spot, make some viewers grimace if they’re paying attention to the recent reshuffling of who gets to speak in public and what they say.
The new season taps into this truth-telling zeitgeist: the smarmy leader of the Opposition’s uninvited pat on Alex Irving’s shoulder in the party room; the deaths in custody of two young Aboriginal girls to add to the nation’s tally. And the hothouse of rampant social networking abuse and physical threats that suck the oxygen out of the air for any woman who gets up and speaks out. Condescension, shaming Real-life events, like the ethnic vilification of Nova Peris upon her election to parliament and the gendered violence of the “dump the witch” movement over Julia Gillard, revolve in the backdrop of this series. But instead of weighing it down, the astute engagement with the shifting responsibility anchors the narrative and gives it smash, making it a thrill to watch.
What happens in Winton?
Back in Winton, the village is in shambles owing to drought, bank foreclosures, a lack of health care, and insufficient education and skills, and residents are forced to truck in bottled water as large cotton farms deplete the aquifer. Irving snags an unexpected meeting with incoming Prime Minister Damian Bauer (Anthony Hayes) for a group of people at the bar to air their grievances. And what do they discuss? We see this charade play out as Bauer, realizing he’s on speakerphone, goes from sanctimonious disinterest to matey joviality. Acting out the laddish rituals that disguise rapport and social empathy all too often in Australian culture. The familiar effectiveness of quasi so reminds of the current incumbent. And then we see Irving pull the rug out from under the pretense, calling out the “stupid fools” for buying it.
Both social and geographical settings are beautifully rendered in a style that maps out discrepancies in privilege and power while keeping an eye on how we occupy a place. In season one, upon entering the capitol building for the first time, Irving, dressed entirely in black, walks apprehensively through the white marble pillars, straight into the camera’s gaze. White men in dark suits stride deliberately from one side to the other. Crisscrossing the floor of Paradise white marble with black granite squares intersected by straight lines. Circles bisected by crosses, and sharp-edged triangles. The newly elected senator takes a straight path ahead of him. Movement axes cut across each other and are never parallel: it is a precise geometrical construction of non-belonging.
Season two portrays a larger image, crossing the community divide as well as within city conflicts. In a year when the phrase “a tale of two cities” has been used repeatedly to characterize Sydney’s socioeconomic differences. The new season of Total Control incorporates these injustices, which have been emphasized by the epidemic, in a wonderfully complex environment. The physicality of settings places the characters into a certain social and economic environment. From the busy stores and vibrant pedestrian streetscapes of Western Sydney to Anderson’s North Sydney abode’s floor-to-ceiling harbor vistas and white hotel bedding decor. The set and costume design heighten the emotional environment created by Irving and Anderson’s power dynamics.
What can happen in season 2?
The season begins with the former Prime Minister being thrown out of the maelstrom of party politics. “Nutcracker Anderson with truck-stopping hair” is now desolate, bedraggled, and crying onto her knees in her boat-like bathtub, a castaway left stranded in her luxury bathroom’s vault-like space. A small spot-lit white figure drowned in a huge sea of stylish grey tiles. Meanwhile, Alex Irving’s heels resonate like a drumbeat throughout Parliament House’s huge foyer. This time seizing possession of the area as she surges forward in all her flaming, furious magnificence to speak directly to the journalists’ camera, big close-up dominating the screen.
When Irving arrives at dusty Winton, she finds decrepit fibro and corrugated iron home with spotty paint and tiny, dark rooms. As well as a skeptical, dismissive community. And this season, both Anderson and Irving are faced with the challenge of regrouping, of finding a way to work into the crevices that appear in a changing political landscape, where fracturing party political affiliations open up new power configurations.
Final notes on Season 2
Despite its depiction of arrogant, smug bureaucrats, the series is far from satirical. There is a strong dedication here to political engagement and striving for change. According to Rachel Griffiths, the series’ central question is whether Alex, who is “carrying her own trauma”. Can “hold it together in the system left to change what she wants to change.” Will she make it? Is it worth the effort to make a difference?” Griffiths characterizes Irving and Anderson as “people attempting to control their destiny.” Total Control is a drama towards becoming: a coming to knowledge and enfranchisement for Irving. As a power source of hope for her mob. And maybe a coming to comprehension for Anderson. Though one is always tempered by whichever game she is playing in an attempt to regain the political sphere.
In acknowledgment of the importance of this being more and more and the drastic hope it nurtures. In particular, for Indigenous nations, a pilot adaptation of the series for the US context is in the works. With Cherokee nation citizen William Jehu Garroutte on board to write the script. Deborah Mailman’s performance as Alex Irving is a demonstration of her flexibility and strength as an actress. In a duel with Mailman. Rachel Griffiths strikes a delicate balance between Anderson’s slick, professional demeanor as a skilled tactician that always keeps one hand under the table. And the character’s brittleness and, maybe, jealousy for Irving’s sincerity.