After disappearing for seven years, Prairie Johnson has returned to her suburban life, with one crucial difference — she isn’t blind anymore. Despite requests from the FBI and her parents, Prairie, who now calls herself The OA, refuses to reveal any details of her disappearance. Instead of confiding in her parents, Prairie finds refuge in an odd bunch of teenagers and their high school Algebra teacher, a group of five that Prairie insists is required to stop a great evil.

The show takes a slow approach to the thriller genre that hasn’t been seen since David Lynch’s Twin Peaks. Its genre-weaving approach to storytelling will sometimes leave you questioning what the show is trying to do -—but the show does know its purpose and it's entirely up to you to have patience and figure it out for yourself. The story is wrapped in a shroud of mystery and confusion, slowly revealing itself as Prairie reveals her story to her new friends.

Creators Zal Batmanglij and Brit Marling have previously worked together, collaborating on smaller indie projects and short films. Their work demonstrates an ability to create innovative stories, challenge viewers and delve into human emotions unaddressed by any other show in this manner, all culminating in The OA. It’s not just the plot that builds intrigue, the visual interface Batmanglij creates conveys emotion in itself. Interface because every shot, panorama or a simple glance through the window feels intentional. Prairie — also played by Marling — is often wandering alone and the color pallete of these scenes in itself is enough to sit back and appreciate.

In addition to a complex and intriguing plot, there are some impressive breakout performances by Prarie’s group of friends. Phyllis Smith plays Betty Broderick-Allen — fondly nicknamed BBA — a high school teacher struggling with the death of her brother as well as existential questions about her career. Smith’s ability to convey sadness hits hard and her character’s moments of joy feel just as real as the rest of story. Up-and-comer Brandon Perea also deals with a complex role as Alfonso Sosa. Perea’s portrayal of Alfonso’s struggle and his rise to the occasion create a powerful character that keeps you invested.

Not everyone will enjoy The OA. Its convoluted and slow plot do not make it the ideal choice after a long day of classes. Minute details might very quickly pass by leaving you confused for the next two episodes. The show is built on bold storytelling moves, that require a bit of trust in the creators. Everytime the plot swerves in a new direction, the context necessary for the audience to understand is delayed. It's these swerves that can sometimes be unnerving and frustrating.

Love it or hate it, The OA still exists and that on its own is a good thing for the evolution of the streaming series. Hollywood and mainstream television has traditionally been controlled by executive producers and corporate studios. This leaves little room for risk or artistic freedom but that is exactly what Netflix has done. The OA is a risk and a wonderful one at that, it is a creation of visual beauty, complex storytelling and hard hitting emotions. So if you’re feeling adventurous while you wait for season three of Stranger Things, take a leap of faith with the challenging world of The OA.