The second series of Flowers, a piece which is very much in conversation with its predecessor, continues to evoke the feel of a fairytale – approaching it, however, from a different aesthetic. As writer and director Will Sharpe (who also plays Shun, the Flowers’ live-in illustrator) noted, Flowers draws on “a pagan and mystical heritage”, and that’s something the second series really emphasises. Broader in scope than series 1, moving its focus from Maurice to his daughter Amy, Flowers series 2 builds itself around the aesthetic of the aforementioned “pagan and mystical heritage”. There’s a new, warmer colour palette, in keeping with the summer setting; it’s evocative of the world of faerie, positioning mental health issues within that liminal space.
As a result, there’s a different energy to Flowers’ second series – it’s now less a haunting reverie and more of a wild rush. Indeed, something that’s worth remarking on about Flowers, and is perhaps less often spoken about, is the editing; much of Flowers comes down to the experience of watching it, the feeling of that wild rush, and that’s created in no small part by Selina Macarthur’s editing. The show masters tone such that it is, in some respects, less a television series and more of an experience – the texture and the feel of the show is, arguably, one of the most impactful things about it.
This one, admittedly, I think I messed up.
So, I was running late with this piece, for various boring reasons we’ll call “personal problems” (in that they pertain to problems with me as a person) which put me under some time constraints when it came to actually writing it. You can perhaps tell, I think, because the second half of the article (typically the close focus/second idea aspect, insofar as I ever stick to the relatively loose structure I try and use) is a broader, more general “things that are good about the show” section, which is usually though not always a sign that I’ve struggled to get the piece to work. Possibly I shouldn’t have revealed the trick. Whoops.
Anyway, a day or two later, with some more though, I realised what I would have liked to write for the second half of the article, because it (hopefully) would have actually advanced all those ideas about fairytales and pagan mysticism I put forward in the first half. Essentially, the character Shun is kind of at a remove from the rest of the characters, right? On a couple of levels, really; there’s just the fact that the character is at a bit of a loose end sometimes, not a member of the family, whatever, but there’s also the metatextual level – Shun is played by Will Sharpe, who created it and writes it and directs it. He’s more of an observer for a lot of it, and we also know he’s the creator.
Also notable, though: Shun is the only one who ever interacts with these magical realism elements. He has that moment with his family (is that significant because of like, forests and the dead in both English and Japanese culture?) at the end of s1, and – eliding spoilers – s2 has an ending similarly shaped around Shun. Well, similar in that he’s important. Anyway, what does that say about the show?
Not a clue, but I felt like I’d stumbled onto something really important but didn’t have the time to actually let it develop into anything. That felt like a particular shame, because I really loved Flowers, and it’s always a bit of a point of personal disappointment when it feels like I’ve not done a show justice with my writing. Ah well. One to revisit one day, maybe.