Monotony
An almost entirely dialogue-free episode, we follow the character of Aroha as she navigates the Auckland Transport system. Her Hop Card is her lifeline – the reason why she cannot get around on her own is unimportant, what is important is that she is totally reliant on Auckland Transport. The episode has little audio – we hear the songs that Aroha plays on her phone, waiting for her to get to her undisclosed location, and we hear the minimal exchange of pleasantries each time she gets on a new mode of transport. There is no conversation, and the muted colours highlight the dreariness of the wait. Throughout the episode, we see a close-up shot of her Hop Card balance each time she tags on and tags off. We slowly see Aroha’s nervousness as the number decreases. Will she reach her destination? Has she planned it out? With the credits interspersed with the final two minutes, Aroha has apparently made it to her last stop. “O’ Superman” by Laurie Anderson plays in the background. The final train of the night. She runs. But then she receives a notification from the AT Mobile app: “CANCELLED FOR RAIL BUS”. And the final bus was the one she just got off. She runs. It goes. Aroha screams. Cut to black.

What If Ola But Too Much
Sanjana opens up literally any app with ad support on her phone. She frowns. “Oh, you’ve got to be fucking kidding me.” With a bright green flash, Ola pops up with an unmutable and unskippable advert: the two ladies take the same car, but surprisingly, the Uber driver is slower and more expensive than the Ola driver! Having seen this ad 40 times in the last week, Sanjana has had enough. She deletes the app, turns off her phone and goes to bed. When she wakes, everything is eerily quiet. She gets her things ready and heads to her job at the hospital, but when she turns a corner, she sees an Ola billboard. She rolls her eyes and gets on the 321 to Middlemore. It’s a long day, and Sanjana is very tired 14 hours later when she finally gets to come home for a nap. She opens solitaire on her phone, but surprise, an Ola app pops up. This time, she deletes every app on her phone with ad support. She goes to bed. When she awakes, Sanjana’s apps are back, and with a new addition: Ola, right next to Uber and Zoomy on her phone. She says what the fuck, but she doesn’t have time to investigate it immediately, because she’s about to be called in to the hospital for her shift. On the way there, another billboard has come up: it’s even closer to her house. On her break, Sanjana looks at her phone – even the lock screen is green now. Terrified, she leaves the hospital and runs out into the carpark. She needs some fresh air; she needs to get Ola off her phone immediately. She deletes the app. It comes right back. She deletes it again, it comes back. It is now the only app on her phone. What the fuck is happening to me, she screams. She looks up. A black orb with a green centre is hovering across the carpark towards her. It’s the Ola logo. She makes a break for it, but it’s too fast. With a green flash, Sanjana disappears and her phone drops to the ground. She opens her eyes, and she’s on the street. “O’ Superman” by Laurie Anderson plays while the credits begin to cut into the final scene – Sanjana calls an Ola driver, and is racing against an Uber to the same location. She smiles, but the smile falters as Sanjana realises where she is. She’s in the Ola advertisement. She gets out of the car, but then the world resets. She’s calling another Ola driver. She smiles.