Despite its clumsy attempts to recapture the magic of the ‘90s films “The Addams Family” and “The Addams Family Values,” season one of “Wednesday” found its charm through the stone-faced performance of Jenna Ortega as the titular Wednesday Addams. made the series work. The love interests were charisma voids, and the other interpretations of notable characters were mere echoes of previous performances, but Wednesday herself managed to anchor the series and make it something worth watching. 
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Ortega is still the highlight in the messier, much more tedious Season 2 that eschews all that dubiously worked in season one for more of what didn’t. Straight out of the gate, the frustrating split into two seasons makes its objective clear: more investigative narratives and more Addams family drama. Neither of which is what the series thrived on. 
While the larger cast of newcomers was, in the friendliest terms, rough around the edges, it was undoubtedly the Nevermore location where “Wednesday” found its stride. The charm was seeing this severe, overtly serious storm cloud of a character forced into everyday, coming-of-age narratives. Just in this case, she went to a school of Outcasts where her roommate was a werewolf, her first rival a siren, and the boy she liked a Hyde monster. But the YA approach worked because it was a series of contrasts where Wednesday both gets to be obsessed with all things murder and mayhem while also having to deal with crushes and school dances. 
Season 2 seemingly forgets the strengths of its first season or never understood them in the first place. We learn quickly that Wednesday has seemingly mastered her psychic ability during her summer break. However, with the loss of Goddy as her guide, she’s been fumbling in trying to maintain the strength she found in her most dire moment. As her power wanes and becomes more unstable, she has a vision foretelling Enid’s (Emma Meyers) death, pushing her into the main plot of the season as she races against the clock to find out who Enid’s potential murderer is and how that aligns with the nefarious forces of season one. 
This plot would be more palatable if it, at the very least, let Meyers and Ortega act together more often. Particularly because the series so clearly is trying to emphasize the significance of their friendship without actually developing it. Whenever Enid mentions the two being best friends it’s hard to tell if this is simply an effect of Enid’s relentless optimism and pep or if the writing believes it to be true. If it’s the latter, there needs to be more effort in showcasing that friendship beyond Wednesday’s attempts to keep her safe. 
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This is especially true considering the show doesn’t let Wednesday have any sort of relationship with any of her peers at all this time around despite the opportunities present. From the siren Bianca (Joy Sunday) working with Morticia (Catherine Zeta Jones) for a fundraising gala, to the newcomer Agnes (Evie Templeton) who is obsessed with her, and her brother Pugsley’s (Isaac Ordonez) arrival at the school, there are plenty of characters for Wednesday to interact with who attend the school and are ensnared in narratives that effect her. And yet the show pushes her into the investigative storylines without committing to a tone. 
Because so much of “Wednesday” is silly. That’s the point. There’s a sentient, disembodied hand, the murder and death of others are played for laughs, and Wednesday, as a character, is deliberately cartoonish. And yet the Netflix series damns itself by trying to make it too serious. When the series works, it’s because the serious nature of the character is combating the silliness of the world and the tone. It loses that charm, and quick, when the show around it channels her demeanor. 
The mysteries dominate the story. From an organization known as LOIS, to the disappearance of deceased outcasts, and the plot against Enid and Wednesday, Season 2 struggles under the weight of so many threads when there’s only one worth a vested interest in. It’s made worse by the aggressive inclusion of Wednesday’s family. Jones and Luis Guzmán are perfectly serviceable in their roles, but Morticia’s storyline and the repetitive cycle of butting heads between her and Wednesday grow tiresome. 
Which all culminates in perhaps the worst aspect of Season 2. While Wednesday is by far still the most interesting character and Ortega the most committed performance, she’s also become a frustrating one to root for. The writing portrays her as too stubborn and unwavering despite all the hurdles she faced in Season 1. It simply doesn’t make sense that she wouldn’t take heed of others’ advice when she had to learn the hard way in the past that sometimes results happen when working together and trusting others. 
There are enough winsome elements for the most ardent fans. The costuming remains distinctive, and the music still captures that nostalgic note. But the flaws are also much more apparent. The addition of new guest stars such as Steve Buscemi, Billie Piper, and Thandie Newton fails to elevate the story, and returning guest stars such as an excessively grating Fred Armisen hinder the overall quality. The direction is largely uninteresting and by the numbers, Netflix – forgettable, flat, and lacking any dimension. And, for all the suggested colors in the styling and makeup, it’s all so diminished by that muted and familiar, streaming service gray. There’s something to be said when the black and white stop-motion sequence offers more vibrancy. 
“Wednesday” Season 2 lacks spark or direction. Bogged down by a meandering plot, distracted writing, unnecessary additions, and a misunderstanding of what made the premiere season winsome despite its many flaws, not even Ortega is enough to lift this one out of its depressive state. For all of the mischief the protagonist seeks, there’s not a whiff of playfulness or sense of fun. And it suffers because of it. [C-/D]