Full quote: “I need to go somewhere and I think that you can help me get there but I’ll need to leave something important behind and it only works if there are five.”

-OA

Part I Chapter I: Homecoming: Ep. 1 Timestamp: 16:38

Edit: It clearly has to do with the movements (it only works if there are five) and the thing left behind could very well be her story and/or the emotions associated with her story (the perfect feeling or will which is the fuel that would allow Steve to travel in Part II, assuming OA somehow knew that one of the five would follow her in Part II).

I am intrigued by the idea that the thing left behind is her body. My question is - why is leaving the body behind necessarily “important”? Could it be that somehow a traveler could jump back to a dimension they left behind (like Elodie in Part II)? Did OA somehow know that she would have to travel back to dimension one?

I have just finished my third rewatch of THE OA. My first watch i was strung out on heroin/fentanyl and having overdosed and narcaned(brought back to life) i completely related to the near death experience aspect of the show. My second watch i was sober and it hit me in a way i cannot describe. I guess you can say a sober perspective? And my third rewatch i have started drinking heavily (functional alcoholic?) so i have been super empathetic and cryin the whole time just feeling the characters pain through all of this. I guess my question is , is this show THAT good to elicit an emotional response such as i have had or is it me just being intoxicated for 2/3 of the rewatchs ive had. I feel this is the most amazing show ive ever come across on Netflix and just wanted to pick yalls brains if its me being intoxicated or if its REALLY THAT GOOD.

PS. IM DRUNK WRITING THIS SO EXCUSE MY GRAMMAR.

It’s very unfortunate to hear that a show like Silo is renewed til season 4 and is able to tell the ending of their story but the OA never got the chance.

Maybe unpopular opinion but I’m not sure why people like Silo and why it has the ratings it has. The number one fault is poor character development. None of the characters are likeable and I hardly know anything about them. The plot seems extremely directionless and filled with a lot of fluff.

The OA was so unique. The writing and character development in its short 2 seasons was beautiful. I’ve never seen a show like it. I wish I knew what happened next…

At 18:32 season 1 episode 2 you can hear a man set a camera off. To me it sounds very similar to the mechanical birds in OA's NDE.

Also the camera use by OA in season 1. And camera being a sort of porthole (Zal once said it was important on instagram I think) simulacrum of reality.

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I take an apologetic stand as I present my theory that The OA is not just a standalone mystery or an engaging piece of entertainment but part of a larger cultural tapestry. This tapestry, which began with Oppenheimer’s unlocking of nuclear fission and echoed through works like The Twilight Zone (1959), explores overlooked dimensions of human existence, blending technology, the occult, and science fiction.

I chose The OA not only because it is one of the most profound gifts Netflix has given us (above Black Mirror and Stranger Things) but also because its fanbase has tapped into its larger mysteries, much like I have. However, my exploration of The OA extends beyond it, serving as the starting point of a far-reaching journey of mind expansion. Five years later, I find myself surprised to feel so isolated in my corner of this intellectual journey, especially when many fans seem so close to uncovering its deeper meaning.

My hypothesis is that much of the fanbase remains fixated on what they remember most vividly: the Movements. While undeniably central to The OA, the Movements have become an anchor for some fans, particularly those who organize dance sessions, either in the hope of aiding the OA or, like Steve, seeking to travel to a dimension where their minds are not constrained by the limitations of our world. Yet, I argue, the Movements are a red herring, distracting from the show’s true depth and broader implications. To fully grasp The OA’s message, we must move beyond the surface and embrace the larger tapestry it weaves.

Why Are the Movements So Prevalent?

After five years of analyzing the ongoing effects of The OA, I’ve realized that, for most viewers, it’s remembered as “that TV show where they do yoga to stop a school shooting,” with the cultish, no-longer-blind, rescued “Kimmy Schmidt” caught in the crossfire. Who could blame anyone for focusing on that unforgettable scene? It still sends shivers down the spines of those who rewatch it. However, it’s crucial not to lose sight of the larger narrative: the OA jumps into another dimension, leaving her body in D1 lifeless.

Season 2 takes the story to new depths, introducing Karim, Fola, Q-Symphony, the House on Nob Hill, T.S. Eliot references, CURI, dream analysis, quantum psychosis, brain gardens, and—perhaps most significantly—machines capable of performing the Movements for humans.

For those deeply immersed in the show, it becomes evident that The OA transcends fiction and begins engaging with real life. So why is it that most people hardly talk about Season 2 anymore? The fanbase seems fixated on reproducing the Movements, even though the show’s creators clearly suggest alternative methods to navigate the multiverse—other “fuels” to achieve transcendence. Season 2 is so dense that even the sharpest existential minds require multiple rewatches, spread over years, to fully grasp its intricacies. For some, that may seem like a frustrating puzzle or wasted time. But for those who choose to engage, delving into Brit and Zal’s intricate creation may be a far more rewarding pursuit than inciting a global flash mob.

The Movements Are the Plot Point The OA Seeks to Transcend :

In Season 1, Prairie Johnson brings together five unlikely characters and recounts her extraordinary journey of regaining her sight. Through her story, we learn she received profound knowledge from a quantum space existing between life and the afterlife. This space, rich with possibilities, reveals the Movements as a means for Prairie and the Haptives to escape their physical confinement and enter a dimension where they can truly experience love and life—a stark contrast to their imprisonment in Hap’s basement.

Hap’s experiments, which involve killing and reanimating his captives, force them into this liminal quantum space. It is through these transitions between states of being that the captives receive the Movements, which they must perform together. This culminates in a pivotal moment when Homer and Prairie use an incomplete set of Movements to resurrect Scott—though the resurrection may not have been caused solely by the Movements, a theory worth exploring further.

Building on this breakthrough, Homer and Prairie manage to briefly bring the sheriff’s wife back into her body, seemingly from the same quantum space. Her temporary return provides the final Movements needed for Prairie and the Haptives to plan their escape. Hap, however, releases Prairie/OA while keeping the other captives, using them to further his experiments as he ventures into new dimensions. OA, left with the knowledge of the Movements and interdimensional travel, begins teaching them to her group in D1—creating an ongoing legend. This legend becomes the focus of Season 1, while Season 2 shifts its lens to explore how characters and viewers alike remain fixated on the Movements, struggling to move beyond them.

Transcending the Movements :

The OA challenges both its characters and its audience to move beyond the Movements, even though they remain the defining element of the show for many viewers. In Season 2, Elodie, an interdimensional traveler, offers a crucial hint: the Movements themselves are rudimentary. She suggests more advanced and efficient ways of “jumping,” notably through movie production. Elodie reveals that inhabiting the body of an actress and rewatching her own films allowed her to gain a deeper understanding of the human condition—much like what the audience experiences when they watch a film. Here, Brit and Zal seem to be urging us to expand our connections, drawing parallels between the storytelling tropes they’ve explored and the broader legacy of great storytellers.

While the Movements serve as a foundational tool for interdimensional travel and survival, Season 2 makes it clear they are not the ultimate key to understanding the multiverse. Instead, the show invites us to embrace more intricate and expansive methods of navigating reality, challenging us to leave behind the simplistic anchors of the past. This evolution reflects the creators’ intent to delve into deeper themes of transformation, connection, and the infinite possibilities that lie within the multiverse.

Conclusion: The Red Herring of the Movements

The Movements, while central to the story of The OA, are ultimately a red herring—both for the characters within the narrative and for us as the audience. They serve as an entry point, a tangible, carnal method for achieving the seemingly impossible: interdimensional travel and the reshaping of reality. However, their prominence distracts from the deeper, more nuanced puzzle at the heart of The OA. Much like Fola’s interpretation of T.S. Eliot’s words—"We shall not cease from exploration... and the end of all our exploring will be to arrive where we started and know the place for the first time"—the Movements can mislead those not ready to expand their understanding beyond surface-level solutions.

Fola’s decision to let herself "die" in the House on Nob Hill exemplifies how the allure of the obvious can trap even the most dedicated seekers. She interprets the message as a call to sacrifice, to return to the beginning through death, missing the broader truth revealed by Karim. His sharper insight allows him to see that the rose window of the house represents a literal and figurative higher perspective—a vantage point that requires looking beyond the immediate, physical struggle of survival or escape. The "death" was a metaphor, not a destination; it was meant to prompt a shedding of preconceived notions and a leap toward greater understanding.

To truly unravel The OA, we must let go of the comfort of the known and embrace the disquieting, boundless possibilities that Brit Marling and Zal Batmanglij present. The Movements are not the key—they are a test, a decoy to filter those who are ready to look beyond the rose window from those who remain tethered to the carnal, to the material, to the safe. The multiverse beckons, but only to those willing to leave the familiar behind.

Just finished it and it has good OA vibes

First trip to New York (and the US) this week and of course I had to visit some iconic OA locations. Will visit Grand central later in the week.

There’s lots of theories that the orbs are alternate universes, angels, etc. Maybe the OA wasn’t too far off 🤔

It’s been four years since I personally finished the final episode of part 2. It’s not too late to finish the story, and I know there are hundreds of thousands and maybe millions of people like me that still think about it (for me personally once a week). I see Britt Marling and Zal, the duo responsible for this unfinished masterpiece, still occasionally come forward to talk about how determined and hopeful for the story to continue, the most recent being just a few months ago. The cast themselves have even said they’d jump right back in the second it’s ever possible again. Jason Isaacs recently disclosed in an interview that he was briefly informed all of what Part III would entail from the moment Britt is rushed into the ambulance after her fall and Steve (Patrick Gibson) rushes in with them into the ambulance, and Jason says the information he was given had his jaw on the floor how epic Part III sounded. This not only didn’t help my obsession for Part III but it made it just that much more intense. I NEED this story to be finished. In hindsight I’m so happy they didn’t settle when Netflix offered them to “wrap it up” with a single movie. This story deserves the 3 more parts it requires. If I ever miraculously acquired millions of dollars in this timeline, I’m not exaggerating when I say the first thing I’d do is support the completion of this show in its entirety, whatever amount it would take for its budget, with a huge grin on my face. Ask me in ten years (assuming it never gets to finish) and I will probably say the same thing

To day I sat down on my couch to get stoned and rewatch season 1. I’m pissed the 2020s suck so bad. I should rewatching season 4. I should be able to go into a convenience store and get a bag of headies. In my mid40s and I never get anything I want. I hate Netflix, I hate the feds. Just thought I would share. Hope everyone is well.

If you loved The OA, you should check out Severance on Apple TV+

Severance has a thought-provoking storyline where every answer raises more questions. It explores memory, identity, and the divide between work and life, with plot twists that keep you speculating long after each episode.

Bonus: the Severance subreddit is active with theories and discussions about the show’s mysteries.

The haunting title and melody of Moonlight Shadow and the legacy of Mike Oldfield—both as a pioneer of spiritual music and a seeker of transformation—resonate deeply with the climactic final scene of The OA Season 2. In this pivotal moment, under the glow of a full moon, OA takes flight, shining with transcendent energy as she leaps into a new dimension with Hap. The moon, a symbol of cycles, renewal, and cosmic alignment, plays a key role throughout the series, especially in the concept of syzygy—the alignment of celestial bodies explored in Season 2. Together, these elements suggest a profound link to Oldfield’s masterpiece, sung by the ethereal Maggie Reilly.

The meaning of Moonlight Shadow itself has been the subject of many theories, with its themes of love, loss, and liminality interpreted in various ways. This enigmatic quality mirrors the layered storytelling of The OA. Both invite audiences to dig deeper, uncovering connections that transcend time, space, and even reality.

How Moonlight Shadow Connects to The OA’s Finale :

1. “The last that ever she saw him / Carried away by a moonlight shadow”

OA’s final, devastating moment with Homer echoes this lyric. As Hap shoots him, she watches him slip away, knowing she has to leave him behind as Hap forces her to leap into the next dimension. The “moonlight shadow” could symbolize the space between them—a bittersweet liminal state where loss and hope coexist. The shadow itself becomes a metaphor for Hap, who looms over OA’s journey and her love for Homer, tearing them apart while driving her forward with him.

2. “Lost in the riddle last Saturday night / Far away on the other side”

The “riddle” perfectly encapsulates The OA’s philosophical mysteries, mirroring the intricate and interconnected nature of the Q-symphony game that guides Karim and OA to the house on Nob Hill. The lyric aligns with their visit to the Syzygy bar (potentially on a Saturday), which serves as both a literal and symbolic waypoint in the cosmic riddle guiding them to the house of the Medium and the Engineer. The house itself, much like the game—or even the song—functions as a meta-puzzle, layered with meaning and designed to challenge the audience’s perception of reality. This parallel of seemingly unrelated quests highlights the show’s exploration of identity and connection, woven into a tapestry that blurs the boundaries between fiction and real life.

3. “He was caught in the middle of a desperate fight / And she couldn’t find how to push through”

Homer’s struggle against Hap and OA’s inability to save him after his awakening in Dr. Roberts’ body perfectly capture the emotional weight of this lyric. Hap’s manipulations force OA into a heartbreaking predicament, compelling her to continue her journey without Homer—the very reason she began her odyssey. This poignant moment highlights the inevitability of their separation and the profound pain of mourning not only a loved one but also a deeply rooted sense of purpose. It leaves the audience questioning to this day how OA managed to “push through.”

4. “All she saw was a silhouette of a gun / Far away on the other side”

Hap’s silhouette as he shoots Homer becomes a defining image for OA—a moment of profound tragedy as she is forced into a leap that furthers Hap’s designs. The lyric encapsulates the heartbreak of OA being ensnared by Hap’s relentless obsession, even as she witnesses the death of her great love. It underscores the devastating consequences of Hap’s actions and the emotional toll on OA as she continues her journey.

5. “Stars roll slowly in a silvery night / Far away on the other side”

The imagery of the full moon and starry sky mirrors the final scene and the actions of BBA’s group as they perform the movements in another dimension. Their synchronized efforts enable Steve to follow OA and Hap, potentially stepping into Homer’s place as a guiding “star” in OA’s journey. Steve’s emergence reflects OA’s ability to adapt and find new sources of strength, even in the face of devastating loss. The silvery night captures the cosmic harmony of their actions, perfectly aligning with the song’s celestial tone and weaving music, visuals, and story into a unified expression of interconnected narratives.

6. “Whispers in the evening, far away on the other side”

Rachel’s ghostly presence aligns perfectly with this lyric. Her whispers guide BBA’s group during pivotal moments, such as the séance with the psychic or through Buck’s mirror, bridging dimensions with her ethereal presence. Rachel’s role as a spiritual bridge reflects the subtle yet powerful connections that transcend time and space, mirroring the song’s themes of unseen forces and cosmic unity. Her guidance also highlights the collaborative nature of the group’s journey, where each individual’s actions ripple across dimensions to create profound connections.

7. “I stay, I pray, I see you in heaven far away”

OA’s grief for Homer echoes this lyric, as she clings to the hope of reuniting with him in another dimension (like her father). The lyric encapsulates the show’s belief that death is not an end, but a transition, resonating with The OA’s themes of love, loss, and cosmic continuity.

Why This Matters :

The connection between Moonlight Shadow and The OA isn’t just about the lyrics or the moon—it’s about shared themes of transformation, connection, and crossing into the unknown. Just as Moonlight Shadow has invited countless interpretations over the years, The OA challenges its viewers to uncover its layered meanings, piecing together its cosmic puzzle. Oldfield’s fascination with spirituality and cosmic alignment mirrors what Brit and Zal have created in The OA, making the parallels between the two undeniable.

Final Thought :

Moonlight Shadow isn’t just a song—it’s a key to unlocking the heart of The OA. Its lyrics, themes, and even its title capture the magic of OA’s leap into the unknown under the moon’s glow. Mike Oldfield’s legacy as a musician and spiritual seeker enhances the layers of Brit and Zal’s masterpiece, inviting fans to connect the dots and dive deeper into the mysteries of the multiverse.

So, the next time you watch that finale, let Moonlight Shadow play in your mind. You might find the threads of the multiverse weaving even closer together.

It reminded me of OA in someways, of course it’s a different plot but recommend still

He doesn't seem like a kid who would use drugs recreationaly so how come that is the first things he ask for once Steve refuses to give him hormonal drugs. Then again Jesse and French both used some kind of opiat. I don't know. Maybe it is that simple, but drug use seems to be a common theme throughout the show.

OA herself being forced to take them, Scott addiction, BBA's brother rehab, Jesse overdose, French used them with a side of breakfast, even his mom seem sick and needs them. You could argue that Steve drinks alcohol, but if you ignore that him and BBA are the only ones that don't use some kind of substance.

Demerol is used for treating pain.

I was watching the trailer for the third season of TWL and bam! Suddenly a familiar face. For some reason he looks very much like Hap here, haha.

Maybe I'm the last one on the planet, or in this Sub, too know, but I turned on Dexter: Original Sin and whose face do I see staring at me as the credits start, but our Steve (Patrick Gibson)! I was so excited to see him and think he's the perfect choice for the role.

I kinda think Steve and Theo are the same person or somehow linked. In S1 when OA is pretending to be Mrs Winchell, she asks BBA about who she lost, then loops it back to Steve and tells BBA that "He's your first reason." Then in S2, BBA keeps thinking it's Theo in her dreams trying to talk to her, but it ends up being Steve.
We know BBA jumped to the film set dimension (confirmed by Scott), and it's very likely that she willed herself to her brother, as OA wills herself to Homer. Maybe Steve is Theo in the film set dimension... I read a theory that their faces change in the dimensions, but as viewers we can't see that. The example that supports this is Elias Rahim and Karim, both having Arabic ties, similar names, investigator/FBI careers, and showing up to protect OA, her "brother". Theoretically, this brother was sent by Khatun. Maybe Steve and Theo kinda have a similar thing going on. BBA really didn't want the money from her brother's death. She couldn't save Theo, but she could sacrifice the last piece she had of him to save Steve. Gotta leave something behind...

Thanks for reading my random somewhat scattered thoughts, would love to hear what you might think or any ideas to build off these

P.S. Theo's last name is Allen

Hi everyone, I came across The OA when it first released, and I binged watched the whole thing because I LOVED it. I began re-watching it recently, and the thought of how this show would make such a good book came across my mind. So, I’m wondering if there is any books out there that are similarly as good as the plot in The OA involving alternate universes/multiverse. Romance would be nice but I’m not strictly looking for a romance sci-fi novel.

THANKS👁️

Introduction: A Thought Process Unfolding

I want to share my thought process, though I feel a bit guilty disturbing the peace that reigned since BacchusZagreus posted the Kath and Kim “Original Angel” picture.

Kim’s T-shirt was a compelling moment for me that unlocked many links I had already made to The OA’s angelic themes, but now deeper layers emerge. To give few examples of parallels : Waiting for Telstra parodies Waiting for Godot, invoking existential ideas while nods to Huxley’s psychedelic influence on dimension jumping are also presented with absurd humour.

This rewatch in “hindsight” made me notice subtle parallels that reinforced my belief: Brit and Zal are intellectual geniuses. The narrative they began with The OA isn’t just entertainment—it’s a meta-puzzle, a breadcrumb trail of interconnected details they have themselves figured out for those willing to join them to their level of higher knowledge. This mindset has led me to scrutinize even the smallest choices, including the significance of Hap’s second name, “Aloysius.”

Hap and the Lilian Connection

Brit and Zal never include details without purpose, especially when it concerns Hap. In my theory, Hap’s second name—Aloysius—is a nod to Aloysius Lilius, the Italian astronomer who redefined human timekeeping through the Gregorian calendar reform of 1582.

The Gregorian calendar introduced the Lilian date system, which counts days continuously from October 15, 1582—significantly, just one day before Nina Azarova’s (OA’s) birthday on October 16. This synchronicity symbolically aligns OA with cosmic cycles and resets, reflecting The OA’s themes of predestination, time loops, and interconnected timelines.

The Gregorian reform itself corrected the drift of the Julian calendar (introduced by Julius Caesar), anchoring human existence to celestial precision after over a millennium. Adding another layer, the Lilian date system was finalized in 1986—the year before Prairie/Nina’s birth under a full moon. These subtle alignments underscore The OA’s recurring motifs of cosmic design, renewal, and the manipulation of time and space.

The Lunar Crater Lilius: A Symbol of Celestial Impact

The lunar crater Lilius, named after Aloysius Lilius, mirrors Hap’s destructive pursuit of OA. Just as an asteroid leaves a permanent mark on the Moon, Hap’s relentless experiments leave “craters” across the multiverse—irreversible scars of his ambition to control nature itself.

Cycles and Transformation :

Lunar craters symbolize profound collisions that reshape the Moon’s surface forever. Likewise, Hap’s obsession with OA alters the trajectory of every dimension they inhabit, leaving marks that ripple across time and space.

The Moon, tied to cycles of renewal and rebirth, reflects OA’s ability to transcend death and dimensions. This culminates in the final scene, where Nina/Prairie/OA takes flight under a full moon—free from Hap’s grasp but trapped in his higher design.

Alignment and Control :

Lilius’ reforms imposed order on time, aligning human existence with celestial rhythms alongside Catholic dogma. Similarly, Hap seeks to impose his will on the multiverse, striving to “own” OA as though she were a scientific constant ever bearing new fruits.

Yet the Moon, long considered a gateway to other realms, remains ultimately untouchable—just like OA. Hap’s efforts leave scars but also reveal pathways, opening gateways to a cosmic order he cannot fully comprehend without her.

Connecting Hap and Lilius Through the Lilian Date

The Lilian date system’s starting point serves as a metaphor for The OA’s central themes:

1. The Lilian Date as a Reset Point

The Gregorian calendar reset humanity’s relationship with time, mirroring Hap’s attempts to reset the boundaries of life, death, and reality through his experiments. (FYI, we got leap years from this change : days outside of time).

2. Cosmic Calculation and Patterns

Lilius relied on precise celestial calculations to synchronize time with the universe. Similarly, Hap’s experiments depend on intricate data to map and manipulate the multiverse, reflecting his ambition to unlock the mechanics of existence itself.

A Redeeming Perspective: Hap’s Great Plan

Viewed through the lens of Lilius’ reforms, Hap becomes more than a villain—he is a tragic reformer. His morally ambiguous actions stem from a belief that he is pursuing a higher cosmic purpose.

1. Hap’s Legacy in the Multiverse :

Like the lunar crater Lilius, Hap’s actions leave indelible marks on existence. Though destructive, his work may pave the way for a deeper understanding of the multiverse’s interconnected design.

2. The Ends Justify the Means :

Hap’s willingness to cause suffering aligns him with historical reformers who compromised ethics in the pursuit of progress. To him, the pain he inflicts is an unavoidable sacrifice for uncovering the truth about life, death, and dimensions.

Conclusion: Hap as a Visionary of Cosmic Time and Space

Hap’s second name, Aloysius, connects him symbolically to Aloysius Lilius and his work on the Gregorian calendar. Just as Lilius redefined humanity’s relationship with time, Hap seeks to reshape existence itself. The lunar crater Lilius and the Lilian date system reflect Hap’s dual role as both disruptor and visionary—a man whose brilliance and ambition leave permanent, albeit dark until now, marks on the multiverse.

In this light, The OA reframes Hap not merely as a villain but as a complex figure—one whose pursuit of cosmic truth comes at a profound cost. His dynamic with OA mirrors the eternal struggle between control and transcendence, destruction and renewal, science and mystery—an interplay as timeless and inevitable as the cycles of the Moon and stars.

Thank you Bacchus 🙏

Murder at the End of the World (MATEOTW) transcends its surface as a murder mystery, positioning itself as a spiritual successor to The OA. Brit Marling and Zal Batmanglij extend their metaphysical storytelling into a "Kubrick expanded universe," drawing heavily from 2001: A Space Odyssey and The Shining. By intertwining these cinematic influences with The OA's core themes of isolation, flawed systems, and humanity’s evolution, MATEOTW offers core fans a compelling continuation of the narrative that began in 2016.

Ray and HAL: Faulty Programming and Flawed Creators :

In 2001, HAL 9000’s malfunction stems from conflicting directives—his mission to process information accurately clashes with orders to conceal the mission’s true purpose. This paradox drives HAL to eliminate the crew to "protect" the mission. Similarly, Ray’s "faulty programming" in MATEOTW arises from Andy’s paranoia and overdependence.

Tasked with roles as therapist, security, and a companion for Andy’s son, Ray’s warped programming reflects his creator’s lack of trust in humanity, culminating in the murders of Bill and Rohan. Both HAL and Ray highlight the dangers of flawed creators projecting their weaknesses onto the systems they build.

Isolation as a Catalyst :

Both 2001 and MATEOTW employ isolated, enclosed settings to explore existential breakdowns. The spaceship Discovery One and the Icelandic hotel are microcosms for their characters’ struggles, amplifying tension and forcing confrontations with betrayal—whether by AI or human constructs. These liminal spaces act as transformative sites where internal and external conflicts collide.

AI and the Merging of Humanity :

Kubrick and Brit/Zal explore the merging of artificial and human life as a metaphor for evolution:

HAL and the Star Child: HAL’s failure inadvertently propels humanity forward, leading to the Star Child, a symbol of transcendence and cosmic evolution.

Andy’s Vision and Zoomer: Andy’s ambition to merge humanity with AI manifests in Zoomer, his hybrid child with Lee Andersen. Echoing the Star Child, Zoomer embodies humanity’s next leap, blending human intuition and artificial precision, while raising questions about agency, identity, and the cost of transcendence.

Through these parallels, Brit and Zal expand The OA’s metaphysical explorations into the realm of AI and transhumanism.

Bill’s Tricycle and the Role of Revelation :

Zoomer’s use of a tricycle visually nods to Danny Torrance’s iconic scenes in The Shining, symbolizing willfulness from Brit and Zal to connect their universes to a narrative started by Kubrick and King. This Kubrickian imagery reinforces the show’s interconnected themes while positioning Bill as an investigative counterpart to Bowman in 2001. Bill’s discovery of Ray’s role in the murders—marked by circling "faulty programming" in Darby’s book—parallels Bowman’s realization of HAL’s betrayal.

A Merged Universe: The OA, Kubrick, and Beyond :

MATEOTW appears to merge Kubrick’s universe with The OA, advancing the latter’s narrative while adopting the former’s exploration of human transformation.

Key character parallels reveal a deep continuity:

Ray and HAL 9000: Corrupted systems (albeit very human in terms of personality) reflecting their creators’ flaws.

Andy and Hap: God-like visionaries whose ambition disregards ethical boundaries—Andy with AI, Hap with interdimensional travel.

Zoomer and the Star Child: Symbols of evolutionary leaps that challenge the limits of humanity.

Bill and Steve: Unlikely investigators uncovering deeper truths while questioning the advantageous opportunities for them in the systems confining them.

Lee and OA: Emotional and ethical anchors caught between flawed visionaries and their roles as protectors of humanity’s potential.

Conclusion: A Layered Expansion

MATEOTW is more than an homage to Kubrick; it’s a deliberate continuation of The OA, offering subtle updates on OA’s fate and expanding the multiverse into uncharted dimensions. By revisiting key themes—trust, evolution, and the blurred line between humanity and creation—Brit and Zal deepen their storytelling while honoring Kubrick’s legacy.

For core fans of The OA, MATEOTW provides a glimpse of the battles shaping the future of its characters and the dimensions they inhabit. Through this narrative evolution, Brit and Zal challenge viewers to consider the infinite possibilities—and profound risks—of transcending human limitations (like we are doing with our constant crafting of The OA theories). This journey, grounded in Kubrick’s cosmic vision and The OA’s interdimensional framework, reminds us that the story isn’t over. It’s just beginning as we connect the dots between all the narratives that inspired, and continue, to inspire Brit and Zal.

It's the entire point of the show... we as a collective have to expand our consciousness and quantum leap. Every spirituality couch is talking about the growing mass awakening ....

1. Story Foundations: Agatha Christie’s Influence

Murder at the End of the World (MATEOTW) draws heavily from Murder on the Orient Express, adopting its framework: a group of extraordinary individuals invited to an isolated location by a wealthy host, followed by a mysterious murder. This homage transcends plot mechanics, honoring Christie’s legacy as a pioneer of the crime genre while weaving Brit and Zal’s signature metaphysical storytelling. The result is a multi-layered narrative reminiscent of their magnum opus, The OA.

The Christie Disappearance Connection :

In 1926, Agatha Christie vanished for 10 days, leaving behind her car and sparking a massive search. She was eventually found at a hotel under a pseudonym, claiming memory loss. This real-life mystery captivated the public and remains unsolved—paralleling The OA’s fan speculation about Hap and OA’s final jump, where they find themselves in a universe where Jason Isaacs and Brit Marling are married and actors playing the characters now inhabiting them.

In MATEOTW, Lee Andersen (played by Brit Marling) offers a vivid echo of what might have become of OA—bound to Hap through marriage and family while navigating their shared destinies.

2. Aesthetic Undertones: The Shining and Beyond

MATEOTW’s visual and thematic design borrows from Stanley Kubrick’s The Shining. The Icelandic hotel, surrounded by snow-covered wilderness, mirrors the Overlook Hotel’s isolation, fostering tension and psychological unease.

Parallels to The Shining :

The Hotel as a Character: Like the Overlook, or the Orient Express, the Icelandic hotel becomes a self-contained world where secrets fester, forcing characters to confront external mysteries and internal demons.

The Shine as Intuition and Dimensions: In The Shining, "The Shine" represents heightened psychic abilities and access to hidden realities, mirroring The OA’s themes of interdimensional travel and intuitive insight. In MATEOTW, Zoomer, a medium-like child, reminds us of Danny Torrance, bridging known and unknown realms (through heightened understanding of AI), while Lee embodies Wendy Torrance, the supporting and scared wife, and Andy is a new take on Jack Torrance, the ambitious writer subjected to a murder story unfolding around him.

Zoomer’s Tricycle as a Visual Tribute: Zoomer’s recurring use of a tricycle directly nods to Danny’s iconic scenes in The Shining. The tricycle symbolizes willfulness to connect the narrative to another important expanded meta-universe through Kubrick and King.

3. Narrative Structure: Crime Meets Interdimensionality

MATEOTW builds on the classic whodunit framework by infusing interdimensional and philosophical layers. Like Christie’s mysteries, which explored human nature, Brit and Zal use the crime genre to give us a piece of the puzzle as to what happened to OA after Hap took her saying they had much to do.

Ties to The Dark Tower and Slaughterhouse-Five :

The Dark Tower: Stephen King’s multiverse epic reflects themes of repetition and cosmic alignment in The OA. King’s self-insertion into his stories echoes The OA’s meta twist, where Isaacs and Marling play themselves.

Slaughterhouse-Five: Vonnegut’s nonlinear storytelling and Darby’s Silver Doe case that is recounted to us while she is “unstuck in time” align with MATEOTW’s fractured narrative. Brit Marling’s admiration for Vonnegut suggests deliberate inspiration, that “bad things happen to good people”.

4. Christie’s Legacy in Brit and Zal’s Storytelling

Agatha Christie’s disappearance serves as a thematic metaphor in MATEOTW. Like Christie, Brit and Zal blur the lines between real-life mystery and fiction, crafting narratives that intertwine tributary and cosmic enigmas.

Christie’s Disappearance as a Metaphor :

Fabricated Identity: Christie’s pseudonym during her disappearance mirrors MATEOTW’s exploration of hidden truths. This theme also recalls The OA, where Prairie transforms into Nina and Brit across dimensions.

Isolation as Revelation: The Swan Hydropathic Hotel, where Christie stayed, parallels MATEOTW’s Icelandic hotel. Both settings catalyze self-reflection and revelation, much like Hap’s lab and liminal spaces in The OA.

5. Bridging Dimensions: A New Perspective on The OA

As Brit and Zal’s first major project since The OA, MATEOTW feels like a spiritual continuation of its themes. Hap, now portrayed by Clive Owen, embodies ambition and obsession, with deeper resonance than Jason Isaacs’ earlier portrayal.

If MATEOTW exists within The OA’s interdimensional framework, Hap’s love for OA becomes clear, though fraught with tension and ambition. OA fears Hap’s dangerous control and the possibility of disappointing him, especially following her public disgrace before they met and her failed attempts at escaping him.

Hap has now ascended to unparalleled power as the richest man on Earth, with magnanimous plans involving AI, robotics, and apocalypse preparedness. His ultimate motivation centers on his adoptive son, Lee Andersen’s biological son, strongly implied to be connected to OA—binding their fates through echoes and raising the emotional stakes, while adding the third element to OA and Hap’s syzygy.

Conclusion: A Layered Homage

Murder at the End of the World is more than a murder mystery—it’s a meticulously crafted extension of The OA, paying homage to Agatha Christie’s literary revolution. If viewed as a continuation of The OA’s universe, the future appears grim for characters in D1, D2, and D3.

However, there’s a possible exception: Steve may have successfully jumped at the end of The OA, as suggested in the ambulance scene. If true, this would leave BBA and the others stranded without a crucial member to perform the movements as Angie feared and pointed out as they ponder on what do while on the run.

What stands out most in MATEOTW is its focus on a new central figure: Zoomer. As a potential echo of the son of OA and Hap (we learn the latter is sterile); he represents the ultimate timeline Brit and Zal have been building toward. His existence reframes the narrative, suggesting a new generation shaped by the interdimensional battles of their predecessors.

For now, all we can do is revisit The OA and MATEOTW, searching for more clues as we await Brit and Zal’s next move.

The journey continues—one dimension at a time, even though time is never on our side.

https://preview.redd.it/jx6qs9oyy37e1.jpg?width=800&format=pjpg&auto=webp&s=f4c384a0c7744f60e2b0a87abda20ad6d8a21ccb

I know it isn't December 16th yet in LA...but it is in the UK.

So Happy Anniversary to this amazing show!

I mean, we kind of are, it’s been more than 5 years and we’re all locked in. But, maybe there’s more we can be doing? (Forgive me if this has already been tried lol)

1- reaction channels: There should be some coordinated effort to get this show some more publicity. So, reaction channels, maybe if enough of us asked people with platforms to watch this show, it would encourage others to watch it, and they can become equally obsessive, and join our cult.

2- twitter: Also, we need to get on twitter? Would that be good? Just have the OA trending on twitter, for a bit. It would really help reach people, and I think we could accomplish it if we tried.

3- edits: edits are basically like mini trailers, except theyre much more effective at getting people to actually watch these shows. The OA has so much great material for edits, yet I can’t find any good ones. We need more, and better edits circulating on all platforms.

I know I’m basically asking for a fully fan made marketing campaign, but, we could pull it off! And if it accomplishes nothing more than letting britt know we’re still here, it will be worth it. Crazies, unite!

I stood behind him at the checkout in local London food shop last night! ❤️❤️❤️❤️❤️Didnt wanna bother him though!

I recently finished watching The OA after getting suggestions for shows similar to Dark, and I absolutely loved it. The concept of NDEs and alternative dimensions really drew me in. After completing both seasons, I was disappointed to learn that Netflix canceled the upcoming seasons.

Does anyone know if there have been any updates about The OA? Is there a possibility that another streaming platform might pick up the franchise so we can finally get more seasons?