Tim Burton's gothic teen behemoth returns, and judging by the first half of Wednesday season two, we're in for another gloriously entertaining, blood-soaked romp through the halls of Nevermore Academy. With Wednesday season two review already the talk of the town among fans, let's dive into what makes this new installment so delectably binge-worthy—and why Jenna Ortega's authoritative presence remains the thumping black heart of the series.

A Blood-Splattered Cold Open Establishes the Tone

Season two opens with Nevermore Academy reopening its creaking gates, demon pilgrim- and resurrected maniac-free (at least, nearly) of the threat of such. But peace, as ever, is a fleeting visitor in Wednesday Addams's life.

With the show roaring back to life, we're treated to a delectably OTT cold opening that features a dog-grooming serial killer known as the Kansas City Scalper (played with creepy charm by The Sixth Sense's Haley Joel Osment). Wednesday, of course, kills him in Addams-style signature fashion—cool, cruel, and fashionably gory.

A New Mystery: Who's Stalking Wednesday?

This modest little beginning is only the start. True mystery begins with Wednesday's newest tormentor: an anonymous stalker who sends cryptic threats of vengeance for an old, hidden sin. Who is it? Why? And how many bodies will accumulate before Wednesday glimpses the truth?

As revealed in this Wednesday season two review, the energy is frenetic, with gothic surprises heaped upon teen angst, social satire, and supernatural horror.

New Characters Introduce New Suspicion and Humor

One of the season's best casting moments is the addition of Steve Buscemi as Nevermore's new principal, Barry Dort, with an indefatigably wholesome demeanor and a suspiciously thick moustache. His interpretation walks the thin line between humor and creepiness—ideal for a series that relies on ambiguity.

Just as much fun is Billie Piper's entrance as music teacher Isadora Capri, whose otherworldly presence and potential secret agenda leave just enough mystery about her to keep the viewer wondering.

Even among the fresh faces, old standbys like Enid (Emma Myers), Bianca (Joy Sunday), and Morticia (Catherine Zeta-Jones) shine afresh—although Luis Guzmán's Gomez remains out of step with the rest of the show's glittering otherness.

Jenna Ortega Owns Every Second

But let's get real: the real star of the Wednesday season two review—and the show—is Jenna Ortega. Her performance is again riveting, bursting with deadpan brilliance and caustic humor. Whether she's fending off autograph seekers, examining a crime scene, or serving up withering putdowns, Ortega dominates the screen.

Her Wednesday Addams is the stuff of myth: half-detective, half-misanthrope, and completely unmoved by the destruction she endures and causes. Ortega's charisma would set a thousand hearses in motion, and I say this without irony.

Gothic Aesthetic, Bigger Budget, and Burton's Personal Touch

Off-camera, the budget appears to have increased. More complex set pieces, crisper special effects, and a more streamlined, more filmic-looking visual aesthetic are the hallmarks of this latest season. Showrunner Tim Burton keeps the series from getting too self-serious—but never from getting lazy.

Grotesque imagery (a man pecked to death by crows), sardonic humor, and surreal visual puns (such as a cloud of caterpillars forming the words "BUG OFF") leave no doubt: Wednesday still knows how to have creepy fun.

The Verdict: Season Two Is Worth the Wait

Overall, Wednesday season two hits all the right notes. It's darker, wittier, and more depraved than ever. Fuelled by Jenna Ortega's dynamite lead performance and a supporting cast of offbeat, suspiciously charming newcomers, the show makes it clear it's far from running out of steam.

Regardless of whether you're here for the gruesomely warped plot, the killer fashion, or the acid-laced humor, there's one guarantee: Wednesday remains the coolest girl in the cemetery. For the viewer surfing the web for a Wednesday season two review, this season does not disappoint—and then some.