Season 2 of The OA will be released on Netflix on Friday, March 22 at 3:01 a.m. Eastern time. The reason for the odd time is thought to be due to Netflix’s geographic location; since the show is being released on Friday, it would be released at midnight — but Netflix is located on the West Coast.
“The company has never officially commented on the release time, but what makes the most sense is that it goes by the clock in the time zone where the company is headquartered. Netflix’s company headquarters is in a suburb of San Francisco, with another 800-person office located in Los Angeles. So the streaming service drops its original series during the first minute in that time zone on their respective release dates (which tend to be Fridays),” PopSugar previously reported.
Here’s what you need to know:
‘The OA’ Part II Has 8 Episodes That Will all Be Released at the Same Time
Part II of The OA has eight episodes, not unlike Part I. Each episode is about an hour long, give or take.
The first episode is titled “Angel of Death.”
“OA successfully jumps dimensions but finds herself at the center of a mystery she cannot solve without the help of a cynical private detective,” reads the episode’s description on The OA’s IMDb page. You can read the full list of Part II episode titles below.
1. Angel of Death
2. Treasure Island
3. Magic Mirror
5. The Medium & The Engineer
6. Mirror Mirror
7. Nina Azarova
Netflix Hasn’t Confirmed Whether or not There Will Be a Third Season
Netflix has neither confirmed nor denied a Season 3 of The OA — and it could be several weeks before OA fans know the fate of the drama series. Season 1 was released in December 2016 and Netflix announced that a second season was approved in February 2017.
If Part III comes to light, it could be another two years before it’s released. Brit Marling — lead actress, writer, creator, and producer — stressed just how much time goes into the show in a lengthy Instagram post that she uploaded back in November.
“Our chapters vary in length, scope, and even genre. There is no pattern. As a result, at every step along the way nothing can be imitated, it has to be invented,” Marling explained. “Our producer on Part II had to throw out the ‘pattern budgets’ the industry normally works with because each chapter required completely different resources to achieve scripts of different lengths, casts, and ambitions. Once she cracked one chapter’s budget, she couldn’t apply that code to the next to save time,” she added.
“The same is true for editing,” Marling continued. “An editor may solve how to best cut chapter 3, but that learning curve doesn’t apply to chapter 5, which is a completely different genre of storytelling.”