Netflix’s hit series, returning for a second season on July 31, is a mash-up of epic proportions
, is a pastiche of sci-fi and fantasy tropes, a busy assemblage of influences and references that make up an erratic but intermittently satisfying collage. While the story is new, there’s something both cozily and annoyingly familiar about. It’s a noisy machine, smashing bits of pop culture together without much concern for originality, and yet it runs pretty well. The product is solid, consumable in large doses and just artistic enough to give it a soupçon of prestige.
For season two , Netflix seems to have allocated more money. The series looks sleeker, more vivid. Its set-pieces are more daring, its visual language crisper and more distinct. Which is another indication that the show has a strong viewership—it proved worthy of further investment.
The first season lurches and leaps around, juggling comedy, pathos, action, and mystery. The show’s pace is frenetic until it suddenly slows and gets stuck in plot eddies, the writers struggling to create consistent characters instead of malleable ciphers that can be bent to fit any particular episode’s circumstances. Time travel is a frequently used device, at once liberating and a frustrating crutch.
By the first season finale—in which the gang accidentally blows up the moon—I was pretty exhausted. But my mandate was to review the second season, and so I pressed on. I was happy to find a show that’s more assured, if no less antic. The new season takes place in Dallas during the fraught days leading up to the assassination of John F. Kennedy.
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