Nathan Fielder lands the plane

Spoiler alert: The next piece contains spoilers of “My Controls”, the final of season 2 of “The Repetal”.

The difference between “the rehearsal” and earlier Nathan Fielder Works is that it is explicitly about itself. The idea that “Nathan for you” was really about helping small companies that may have been a joke, but one that told the Comedy Central series with a straight face. “The rehearsal” started with a similar concept, which helped volunteers to navigate personal relationships instead of professional problems through obsessive preparation. But in the course of season 1, Fieler-or Rie, his attitude on the screen of applying his methods on others to the use of them themselves in a desperate, doomed attempt to prove the validity of his approach. That should have been an indication that the entire starting point of season 2 is an extensive feint.

Apparently the second edition of “The Repetal” is Fielder’s sincere attempt to use rehearsals as a way to improve communication between airlines pilots, so (hopes) prevent deadly accidents. The path to achieve this goal was already a deepening, cohabiting singing competitions, cloned dogs and a Velder with a bald Velder that breastfeeding a gigantic doll. (It was a certain sense at the moment.) But the final of Sunday started with the revealing Fielder who had withheld a crucial piece of information during the earlier episodes, one that reformulated his entire company. Fielder himself learned to fly with an airplane all the time and eventually obtaining a commercial pilot permit. In other words, Fielder does not help pilots; He is An. And by trying to help them, he really tries to help himself.

Fielder had begun to move his own bow to the foreground in the previous episode, who dealt with how his work has been made with autistic fans who see themselves in his eternal clumsiness. In theory, these armchair diagnoses were an oblique average means to get an audience with Rep. Steve Cohen, a democratic congressman from Tennessee, who is both a member of the Aviation Subcommittee of the house and an advocate for the neurodivergent. But they also lead Fielder to finally flirt with a clinical explanation for his chronic inability to easily get in touch with other people, the determining state of his in-show character.

In the brain -bending world of Fielder’s work, where the line between reality and performance is in the eye of the viewer, “the rehearsal” that breaks the fourth wall to record the reaction to season 1, is the most marginal expansions. However, the autism storyline offers season 2 with what it was missing: an explanation for Why Fielder is so busy with the Captain-first Officer relationship. The implication was already there – Fielder modeled one exercise to test the frankness of pilots for his own experience with producing “Canadian Idol” – but was now explicit. Fielder sees the problems of aviation professionals who speak freely as their own version, so he make They are own by joining their brothers.

This project opens new comic boundaries for “The Repetal”; Fielder Snow In the last episode of the season that he is uniquely bad in landing the literal plane. The (playing pun was also intended again) increases the full-commitment from Fielder to new extremes. When a somewhat manic-sounding field player enables a “Maas in the regulations” who enables him to pay a real jet in co-pilot as long as his passengers do not pay, is it a marriage of “Nathan for you” style style manner when he brought the smoke bar new life by organizing a play? – With HBO sources. Even without music to rattle the tension of a finally calm flight, the sight of Fielder in the cockpit at Cruising height is amazing in a way that TV is rarely to be.

But there is also a narrative logic at work here. Fielder’s nagging concern about his own potential autism is preceded in his ambitions in the air when he has to fill in a FAA opposite form. Against Reddit’s advice, Fielder asks a formal diagnosis, including an FMRI, to ensure that there is nothing So About him that he cannot be familiar with the life of others. The results are not ready on time for his first trip, which continues; Instead, he gets an ominous voicemail from the doctor’s office while lurking in the shadow and looks at the last version of pseudo-reality show ‘Wings of Voice’. And in a coda with a stunning scale supplied by the discharged delivery, Fielder says that he has started closing empty rays between remote corners of the world to cope with his uncertainties. “They only let the smartest and best people fly a plane of this size,” says his voice -over an aerial photo of the African desert. “Nobody is allowed in the cockpit if there is anything wrong with them. So if you are here, it must be good.”

These final lines take a blow, even if the deliberate ambering structure of the season meant that they came with less run -up that could improve their impact even further. Fielder started season 2 by freshening up his mission as an altruistic exercise, intended to help the people who drive and use air travel. (Judging by recent headlines, it seems that they need it.) The final makes this troubled rehearsal training clear, just like the original, in the first place about Fielder – and not only in the sense that Fieler, like everyone else, has his problems with saying what he feels. It is even one of the costly a few times that “the rehearsal” has hinted that the events of season 1, including a disastrous experiment in simulated parenting, have weighed the protagonist. What if Fielder is so disturbed by his own dysfunction and the attempt by external observers to taxonomers that the refutation of their analysis causes him to make more and more exaggerated actions of one-upsiver? Can destroy an irreparable loner to a life that is staring from outside in do this?

In the final, Fielder seems to be both impressed and reassured to hear that the rehearsal is already an integral part of the learning process of pilots. Trainees go directly from a high-tech simulator, such as one fieldwork visits outside Las Vegas, to transporting passengers. He is not only in his dependence on obsessive detailed practice, nor his conviction that these rituals really prepared him for real life. And in the end nothing matters except the results. When Fielder (successfully) lands the plane, he is greeted by a cheering crowd of actors with whom he collaborated throughout the season. “All this applause gave me the feeling that I had done something important,” he says. These people do not know about his inner unrest, nor the pains he has taken to overcome it: “As long as you bring everyone down safely, that is all that is needed to be a hero.”

By hiding his true efforts to the end, Fielder season 2 of “The Rehearsal” gives a less coherent throughline, and perhaps a more blunt definitive impact than the first run of the show. Yet he also draws the kind of magic trick that has been fascinated Fieler since he was a teenager. (Fielder appoints his early attempts to be wizard when the first time he realized that his bad social skills can be a real obstacle.) The assessment has his own benefits and comes with a merger of form and function. Fielder has hidden what he actually intends – what, for everything he claims to want more emotional transparency, is what he concludes that he really has to endure the day. If you put the landing, no one can care how you did it.