Silo

Overall, Silo continues to be must-watch television. Even with limited time and an enormous dystopian world and story to build, the series succeeds where many others fail in our new world of streaming: Character and relationship development.

Graham and his co-writers have effectively set the stage for a captivating finale and eventual season three. While it may sometimes feel like we are spinning our wheels here before we get to the good stuff, this show still remains one of the most puzzling and fascinating in the Apple TV+ library.

It's an incredibly rich, smart show.

The first season was smart, inventive and frequently thrilling – and the second is even better. It remains slowly paced and visually sludgy – so much so that it demands a bright TV in a pitch-black room – but the aesthetic works in its favour.

Forget social commentary – this is just dark, dystopian fun. In turning a cult novel into an understated sci-fi gem, Ferguson carries off her mission improbable with style.

While this latest puzzle box of a season often raises more questions than answers, it remains a gripping series that keeps you guessing whether there’s a grain of truth among the lies.

Silo creates a compelling tapestry of tension through Ferguson’s nuanced portrayal of a character wanting to make things right, while powering through some truly dark and eerie mysteries that affirm the show’s greatness.

Some plot twists are easy to foresee, but there are enough choices with surprising outcomes to keep Silo near the head of the Apple TV+ originals pack.

It feels like after Silo‘s complex first season finale, Graham Yost has given viewers a chance to ease into Season 2 with the single-minded season premiere. For a series this dense in story, that’s not altogether a bad thing.

Shirley and Knox may take center stage, but they remain thin sketches of human beings, mainly useful as a means of advancing plot beats. For as much as the shift in focus to a collective movement diminishes such deficiencies, these shortcomings are in full force whenever we follow a character like Juliette, who fails to hold interest when she’s no longer a direct participant in the action.