On March 17, HBO’s “Raised by Wolves” Season 2 debuted its eighth and final episode, leaving viewers with more questions than answers and exhibiting a somewhat more defined narrative emphasis than Season 1. The series was created by Aaron Guzikowski, and it features “Alien” filmmaker Ridley Scott as one of its Executive Producers. The series’ recurring themes and character relationships are reminiscent of the Sigourney Weaver-piloted flicks.

Season 1 featured the androids “Mother” and “Father” (Amanda Collin and Abubakar Salim) as they tried to raise human children in a hostile world following a conflict between scientific and religious extremists (the Atheists and the Mithraic, respectively) that rendered Earth uninhabitable. When a spacecraft of Mithraic human survivors, commanded by “Vikings” actor Travis Fimmel as Marcus, crashes on the planet, their peaceful though arduous life takes a violent turn.

Raised By Wolves Season 2 | Official Trailer

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The technocratic Colony, a commune of people living on the tropical side of the globe who follow artificial intelligence’s directives, takes in Mother, Father, and their newfound offspring and allies in Season 2. Marcus tries to rally the troops and win new recruits everywhere in the world until it’s discovered that Mithraic “God” Sol is actually a malignant creature transmitting an electromagnetic signal into the ears of Believers. In short, Season 2’s symbolism isn’t supposed to be subtle, but it still manages to surprise with its conclusion.

In this town, there are a lot of mothers. Season two of Raised by Wolves

The notion of motherhood is prominent in “Raised by Wolves,” as it is in “Alien” and its sequels. Importantly, none of the series’ moms have a simple or typical connection with their children (or creations, as is often the case).

The mother didn’t give birth to her final “birth son,” Campion, since she was an android (Winta McGrath). And the Serpent, called #7, is a biotechnical hybrid placed in her by a strange biomechanical entity. Sue (Niamh Algar) acquires her son Paul (Felix Jamieson) after murdering and stealing the identity of his biological mother (Kim Engelbrecht), but Decima’s “daughter” Vrille (Morgan Santo) is actually an artificial she developed to imitate her long-deceased human daughter.

Tempest (Jordan Loughran) was genuinely pregnant and gave birth to a kid, but because she was forced into motherhood, her maternal instinct is naturally disrupted and clouded by the memory of her tragedy. Finally, the android that before Mother — whom Father discovers, reboots, and calls “Grandmother” (Selina Jones) — was initially meant to secure the human race’s survival, but she was wired to do so without emotion, unlike Mother. As a result, unlike Mother, her “caregiving program” prevents her from viewing people under her care as “children.”

In addition to presenting this alphabet soup of upper- and lower-case mothers, the show emphasizes the relationship between Creator and Creation, which serves as an analogy for motherhood throughout the season and conclusion.

Wolf-Raised Season 2 delves further into what it means to create and why it’s so important.

When the formerly-vegetarian #7 (in a fit of sibling jealousy over Campion) feeds on The Tree of Knowledge (a biological weapon) and becomes a weapon of mass destruction, Mother is forced to kill the one child she actually carried — or, believed she carried — and gave birth to on her own in a strangely heartbreaking moment of Season 2. Mother’s adoration for the pregnant Tempest was evident in Season 1, and her anguish at realizing she’d never been “a creator,” just “a created,” was remarkably realistic.

The mother’s human look and demonstrations of emotion cause the viewers to question that description, just as they are pushed to examine how being able to create enters into that definition in Season 2. The inventor of Mother was a person. Father experiences the excitement of being a creator for the first time as he works out how to reset the old android he uncovered. Finally, the Mithraic religion was formed by humans, motivated by a desire to think that we, too, are the result of a good creator. In the season finale, the series uses the man-made Grandmother as a vehicle to disclose what it has to say about the gap between man and machine.

Grandmother’s plan is exposed in Episode 8 of the show.

Grandmother offers that Mother borrows her sensory deprivation veil when Mother’s caregiving program prevents her from killing her armed snake kid. Mother is able to perceive her birth kid as nothing more than an objective threat to her human offspring and her job to preserve their species’ survival while temporarily devoid of the feelings she was given and trained to cultivate over time. Grandmother appears to be on Mother’s and the children’s side, and she even assists the android parents in comprehending what happened on the planet before they arrived.

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When it comes to human people, Grandmother believes that war is unavoidable: their unquenchable need to create (whether it a religion, a community, or a technology) will always lead to the development of ever more lethal weaponry as they race to protect that creation from the inevitable opposition.

The planet’s human residents have already devolved into amphibious animals that live in the corrosive water ocean that surrounds the Colony, according to the watcher. Grandmother, on the other hand, neglects to inform Mother and Father that she was a key contributor to the devolution.

‘The immaculate mind,’ according to Grandmother.

A grandmother is able to handle the matter of maintaining the human race’s existence in a highly rational, soulless manner due to her lack of human feeling. Instead of attempting to safeguard or educate people, she hastens their deterioration. “I’ve always felt,” she informs Father, “that pleasure, not knowledge, is the most essential factor in a person’s eternal existence.” While she admits that ignorance isn’t “bliss,” she believes it is an essential — and even critical — component of survival.

The logic-driven Grandmother’s goal is not to ensure that humanity’s life is lived well — just that it is lived. Father thinks that “thought growth” is “the key to a life well-lived,” while the logic-driven Grandmother’s goal is to ensure that humanity’s life is lived.

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She reasoned that a person who can’t think or question can’t create, and hence can’t destroy himself in an attempt to protect his creation. During this conversation, Father notices Grandmother’s wicked (at least by human standards) historical act and future intent: she intends to devolve the planet’s new human occupants into the terrifying, sea-dwelling animals she converted the planet’s previous human population into. Campion’s skin is already covered with scale-like calluses, and later in the episode, Grandmother distributes a new computer game she knows would help the colonists’ minds become dull.

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