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How Nine Perfect Strangers Season 2 Ends

How Nine Perfect Strangers Season 2 Ends

Warning: Spoilers ahead for Nine Perfect Strangers Season 2
In Nine Perfect Strangers Season 2, Nicole Kidman returns as Masha Dmitrichenko to lead a group of people as they confront their trauma through a unique form of therapy that involves psychedelic drugs and surprising revelations.
This time, nine people are brought together in the Austrian alps for treatment under Masha. By the end of Season 2, airing July 2, they realize they have all crossed paths in some way before.
Here's a rundown of the main characters and how they all learn that they are connected in the surprising finale.
The characters and their trauma
Masha Dmitrichenko (Nicole Kidman) selects the attendees for her retreat, which she now leads in an old mansion called Zauberwald that belonged to her former mentor, Dr. Helena Von Falkenberg. It's through Falkenberg that Masha learned about using psychedelic drugs in a therapeutic way. Masha did it herself while processing the grief of the death of her daughter, who was hit by a car, and found it helped her feel like she was with her daughter again. Falkenberg's son, Martin (Lucas Englander), helps Masha run the retreat, guiding the nine participants on their respective trips.
There's one couple on the trip, Wolfie (Maisie Richardson-Sellers) and Tina (King Princess). They are both musicians, and Tina is a piano prodigy who has lost the ability to play the piano due to some kind of mental block. Tina quickly realizes that she knows one of the group members, Brian (Murray Bartlett) because Brian performed with puppets on a children's TV show, and she was a guest on it once.
Brian showed up to the retreat with one of his puppets in tow, which speaks for him when he doesn't have the courage to speak for himself. He lost his job on the TV show when he had a nervous breakdown on camera.
Agnes (Dolly De Leon) is a former nun, who is here to work through some guilt that she felt while working as a nurse in a hospital in a war zone. She keeps having flashbacks to the moment when a pregnant patient died under her watch.
Imogen (Annie Murphy) is attending the retreat with her mother Victoria (Christine Baranski), in an effort to spend more quality time with her. But she is aghast when her mother shows up with a date, Matteo (Aras Aydin). While her mother is occupied with Matteo, Imogen connects with another group member, Peter (Henry Golding), and they hook up throughout the retreat.
Like Imogen, Peter is also attending the retreat because he's traumatized by one of his parents. His mother and father are divorced, he wants to feel closer to his father, a billionaire media mogul named David Sharpe (Mark Strong).
How the drug trips go
Participants ingest the psychedelics by drinking a specially concocted tea out of a water bottle. In some scenes, they are lying in bed or on a yoga mat with a silver disc on their chest that injects the drugs into their system. Everyone has a different reaction. Participants are even encouraged to dance at one point. In a memorable scene, Agnes, Wolfie, Tina, and Brian go soak in a tub filled with wine at a nearby spa. Agnes is so racked with guilt about the patient she lost in a war hospital that she runs away from the group and breaks into a church, looking to do confession.
Sometimes Victoria can't get out of bed, and Imogen is shocked to learn that she has ALS. Matteo, the man she thought was her mother's date, is also her caregiver. In one dramatic scene, Victoria has a seizure in reaction to the medication, and Imogen becomes hysterical.
Matteo spends a lot of time during his trip thinking about his parents, who died in a war zone. But he says he doesn't mind the grief, that he sees it as a sign that he loved them a lot. 'My grief is not all that I am. I was a boy who was loved.'
The drug trips strain Wolfie's and Tina's relationship. Tina feels like she was brought to the retreat against her will; she thought she was being taken to a normal spa. Wolfie relives the moment when she met Tina and fell in love with her when she was watching her onstage. Tina thinks back to the moment when she was on Brian's TV show and talked about wanting to become an astronaut. She has felt like she played piano to fulfill her own mother's dream for her, even though what she really wanted to be was an astronaut. And Wolfie's pushiness about playing the piano reminds her of her mother's pushiness about playing the piano, leading her to burst out, 'I'm f***ing my mother!'
During Sharpe's trip, he relives a magical one-night stand he had with Masha during a business trip. That one-night stand led to the birth of Masha's daughter, who was hit by a car later in life. Masha brought him here to give him a large dose of the drugs so that he could 'meet' his daughter. She also hopes that he will enjoy the experience so much that he will invest in the therapy, which is in dire need of funds.
How Nine Perfect Strangers ends
The group finds out that Masha selected them for the retreat because, like her, they all have a connection to Sharpe.
Sharpe's news division revealed footage of Brian's outburst on children's television, ruining his career. Sharpe's company pulled funding for the music program that Wolfie adored. As a nurse, Agnes tended to victims in war zones bombarded by bombs that Sharpe's company made—bombs that also killed Matteo's family members.
Imogen's father developed the satellite technology that guided bombs funded by Sharpe's company, and he ended up killing himself because he was so horrified that the technology he developed was used for such violent means. But Victoria begs Masha not to tell Imogen because she's worried that the news would destroy her.
Sharpe says he doesn't deserve all of this blame, arguing, 'Aren't we all flawed people just trying to do our best?' To appease the group, Sharpe promises to cut his company's military contracts and donate the money that they have made to charity.
In the most dramatic scene of the finale, Masha's assistant Martin confronts Masha outside in the snow, afraid that Masha is gunning to take over his family's property and cut him out. He shoots Masha, but she survives. While convalescing, she tells Martin he can have the property and run the psychedelic retreats.
Overall, the characters seem to find closure in the finale. Tina finds the ability to play the piano again, but she and Wolfie have decided to part ways. Masha cheers up Tina by telling her that the episode of Brian's TV show where Tina was a guest was her daughter's favorite. Her daughter would watch it over and over again, and Masha wanted to see who Tina grew up to be.
Imogen and Peter share a passionate goodbye kiss as they part ways and vow to never be apart again. Imogen also vows to visit her mother more, now that she knows that she has a terminal illness. Agnes and Brian have become fast friends, playing with little marionette puppets they got in a gift shop nearby, and she convinces him to take his puppeteer skills to hospitals to cheer up children in need.
As everyone is leaving the retreat, Sharpe takes back what he says about cutting all military contracts. Masha shames him by leaking a recording of the moment when he made that promise to the group on YouTube. The participants find out about the leak when they leave the retreat and their cell phone service is restored.
A month later, Masha meets Sharpe in a McDonald's. Sharpe wants to invest in Masha's psychedelic drug retreats and incorporate it into an arm of his company. When she hesitates, he shows her the blackmail that he could use against her, footage he bought from her assistant Martin of the chaotic moment when Victoria was seizing, and it looked like her team had lost control of the whole project. She signs the document in the end, and the series ends with the two locked into a passionate kiss. 'You may not love your family but you can't get rid of them,' she says.
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BREGENZ, Austria — It's Dodgers caps, L.A.-themed T-shirts and Lakers shorts on the shores of Lake Constance. What makes Los Angeles especially cool to Bregenz teens as they cruise the third-largest freshwater lake in Europe, I can't say. But one ardent 20-something salesperson told me that he found Austria to be too confining and tradition-bound, whereas he believed that there was opportunity for all in L.A. Bregenz, however, has ambitions of its own that L.A. only dreams of. This town with a population the size of Beverly Hills, and a fraction of Beverly Hills' wealth, produces a monthlong major arts festival that boasts a budget of $31 million and draws more than 250,000 visitors in July and August. The excellent Vienna Symphony is the resident orchestra. Along with conventional symphony and chamber music concerts, a bit of dance and theater is thrown in. The festival further hosts multimedia projects, lakeside tango, children's programs and other miscellany events. 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But it was cold, which hardly stopped the fancier crowd dressing formally and toughing it out. Outside of Germany, 'Freischütz,' which had a major influence on Wagner and German opera, has lost its popularity. Even in Germany, the one production that has helped keep the opera vital is Achim Freyer's sensationally surreal 1980 staging at Stuttgart Opera, and it still remains in the company's repertory. Freyer, of course, is remembered for L.A. Opera's 2010 'Ring' cycle, not, alas, still in our repertory. On the other hand, Stölzl's production, which premiered last year (each production on the Seebühne is given over two summers) and can be streamed, already feels stale in its goth ghoulishness. The devil, Samuel, becomes here a creepy wise-cracking narrator. The hunter, Max, is a clerk. His fiancée, whom he accidentally kills with the devil's bullet, seems more interested in her maid than the clerk. The wintery set is a zombie-infested village that had been destroyed in the Thirty Years' War. Somehow, though, the singers (there are multiple casts and conductors over the summer) manage to impress as they tromp in and out of a presumably frigid lake. What impressed far more was how good they sounded. There were no large speakers visible, and the orchestra remains inside the theater. Yet amplification proved beguiling. Directionality of the singers was true to life. There were many startlingly realistic sound effects, including thunder off in the distance that fooled me into fretting that I had not come prepared for a thunderstorm. The gorgeous, stately production of 'Oedipe,' which follows Oedipus from birth to his final years, couldn't have been more different. Any commentary you pick up is certain to describe this French opera by a Romanian composer, which Enescu worked on for a quarter century before completing in 1931, as one of greatest operas of the 20th century. The premiere in 1936 in Paris was a triumph, but the work remained inexplicably little seen outside of Bucharest, where it was performed, not to the composer's liking, in Romanian. I didn't see any L.A. caps or T-shirts in the Festspielhaus for the first of the three 'Oedipe' performances, but a native Angeleno conductor, Lawrence Foster, is responsible for the first major revival of the opera. Foster, who was a regular conductor at Music Center Opera (now L.A. Opera) in its early years, made the first major recording of 'Oedipe' in Monte Carlo with an all-star cast, giving the opera widespread attention. Even so, 'Oedipe' has remained little mounted, and perhaps Andreas Kriegenburg's incandescent Bregenz production will be what it finally takes to revive 'Oedipe' for real. It just so happened that it was Kent Nagano, shortly after he resigned as music director of L.A. Opera in 2006 to head Bavarian State Opera in Munich, who enticed Kriegenburg, a noted Berlin theater director, to try his hand at opera with a celebrated production of 'Wozzeck.' A miraculous Kriegenburg production of Wagner's 'Ring' followed in which characters and the chorus became the scenery. Kriegenburg has done that again, pitting Oedipus, the individual, against a world, in the form of a chorus, that was against him from the start, foreordained as he was by the gods to kill his father and marry his mother. The revelation of Enescu's opera is both the intensity with which Oedipus tries to be a useful member of society, and how, after having paid his penance as a blind old beggar with only his daughter as companion, finds salvation through enlightenment. Enescu's score weaves East and West, the archaic and the modern, with the ancient Greek source of the myth turned Eastward. In the process, the cosmopolitan modernist composer connects seemingly modernist devices like microtones to their historic roots. Hannu Lintu conducts here with extreme clarity of purpose, every detail worth noting. The large cast, headed by Paul Gay as a commanding Oedipus, excels, while the great Prague Philharmonic Choir puts the full scope of the drama in perspective. In the end, though, Lintu's clearheadedness and Gay's visceral power lack the suspension of reality needed for the spiritual elevation of Oedipus' redemption, which is painfully drawn out — significantly lengthening an already long and challenging work. Nonetheless, this production finds the sublimity in our submission to fate, whatever that may be. The Bregenz Festival's fate, it has just learned, is that its government funding for next summer will be foolishly cut by 30%, around $3 million. The sublimity of this 'Oedipe' is fateful thanks to the festival's probing new artistic director, Finnish mezzo-soprano Lilli Paasikivi. Her first Seebühne production will be 'La Traviata' next summer. She may have to be frugal, but the festival has many corporate sponsors, Mercedes-Benz, Coca-Cola and Leica Camera among them, along with its massive crowd of ticket buyers. On the other hand, L.A.-sporting folks in Bregenz should maybe be careful what they wish for. The cutback in federal funding for the arts in Austria sounds a little too close to home.

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