SERIES REVIEW – The first four episodes of Wednesday’s second season were a tangled mess – which says a lot for a show that practically thrives on disorder, mischief, and supernatural mayhem. The back half of the season, however, finally cleans house: unnecessary side plots are wrapped up, the story sharpens its focus, and the real essence of the series comes into play. Two separate family dramas collide, the stakes rise to their peak (along with the dead), and while Jenna Ortega continues to embody everyone’s favorite cello-playing goth, it’s a zombie who completely steals the spotlight.

As the trailer already teased, Wednesday wakes from her coma to anything but peace. The moment she opens her eyes, she finds herself face-to-face with the spiritual office of the late Larissa Weems (Gwendoline Christie), Nevermore Academy’s former principal. Technically, Weems is Wednesday’s thirteenth cousin twice removed, and because a “spirit guide” must be family, she takes on the role of a literal angel on Wednesday’s shoulder. She chastises her relentlessly for her selfish, reckless behavior, but also delivers crucial guidance when it matters. Wednesday is convinced that all she has to do is eliminate Tyler (Hunter Doohan) before he kills her and Enid (Emma Myers) to undo the prophecy… but the danger proves far greater than anything she imagined.

Zombies and Obsessions

The big twist isn’t Grandmama (Joanna Lumley) swooping in to fix the rift between Wednesday and Morticia (Catherine Zeta-Jones) – as it initially seemed – but rather Weems, Morticia’s longtime rival who spent her youth at Nevermore in her shadow. It’s just one of several small surprises the second half delivers. Plot threads that once felt dull or pointless suddenly come roaring back to life in the final four episodes. While Pugsley (Isaac Ordonez) still feels like dead weight, his reckless decision to dig up a long-forgotten student’s grave unexpectedly sparks one of the season’s strongest story beats.

That’s when Slurp (Owen Painter) steps into the spotlight, emerging as a central figure who eclipses everyone else. As he slowly regains consciousness and his human form, it becomes clear he’s far more than a pet. Painter’s performance is electrifying – menacing yet stylish, cunning yet magnetic – like the rebellious bad boy in an ‘80s or ‘90s slasher flick, or even Dan Stevens in The Guest. Scene by scene, he grows more compelling, until he outright overshadows Ortega. Honestly, I wouldn’t have minded if the series had dedicated a whole bottle episode just to him. Slurp doesn’t just join the story – he hijacks it.

Every Path Leads Somewhere

Of course, not every dangling subplot pays off. A handful of them collapse into one chaotic mess, still tangential to Wednesday herself or the show’s central narrative. Steve Buscemi’s shady principal feels squandered, and Christopher Lloyd’s professor with the missing head doesn’t fare much better. Still, his therapy circle for disembodied limbs is a clever touch – with Thing naturally attending every session. At one point, Agnes (Evie Templeton) – Wednesday’s stalker with invisibility powers – sneaks into the group, brokenhearted after another rejection.

Agnes is easily one of the highlights of season two. Equal parts creepy and endearing, her awkward devotion to a completely unimpressed Wednesday creates a dynamic that’s unexpectedly sweet. Her jealousy of Enid is both funny and painfully relatable. Their relationship blossoms with surprising tenderness, and by the finale it stands as one of the strongest and most genuine friendships in the entire series.

Family Matters

Although the season’s heart is undeniably tied to the Addams clan, Gomez (Luis Guzmán) and Pugsley remain disappointments. Guzmán’s chemistry with Catherine Zeta-Jones is flat, and with Ordonez, there’s virtually no believable family bond. Maybe it’s because Raul Julia’s iconic take on Gomez, or John Astin’s performance in the 1960s series, still casts too long a shadow. Grandmama’s reinvention as a cold, elegant antagonist also feels like a misstep, robbing her of the quirky warmth fans expect. On the other hand, Fred Armisen nails Uncle Fester perfectly, channeling the spirit of the character while dropping some genuinely laugh-out-loud moments.

Yes, Gomez and Pugsley were sidelined this year, but I’m hopeful season three will lean into a more classic “creepy, kooky, altogether ooky” vibe that the Addams family has carried for generations. The show still struggles with pacing and too many narrative detours, but there’s a sense that the next season could finally deliver twists that feel both surprising and fully earned.

-Gergely Herpai “BadSector”-