Continuing in the same vein as its predecessor, Netflix Series Disenchantment Season 2 is a resounding success, securing Matt Groening’s work on the platform.
Netflix Series Disenchantment Season 2 was released on Netflix on September 20, 2019.
I recently read my review of the first season of Disenchantment, where I confessed I hadn’t seen an episode of The Simpsons for as long as I can remember. I still haven’t since writing that article; the show feels alien to me now, and even though it took over many hours of my childhood, it’s not an animation I’d like to revisit. I genuinely believe the series is well passed the sell-by date.
Disenchantment, on the other hand, still feels fresher than ever after securing a Season 2. Despite the likeness to Matt Groening’s previous work, and the humour feeling comfortably similar, Season 2 continues to herald as an original, satirical medieval story about a clumsy, sometimes self-confident character named Bean. It stays in the same vein as it’s predecessor with it’s laugh out loud moments and well-timed irony.
It continues to rely on several gags to drive the story, with Bean and co relishing a world that is gruesomely cruel but forgivingly lacking logic. Matt Groening is still having fun in Season 2, making his new project worth the watch, adding value to the streaming platform’s USPs.
Disenchantment Season 2 resumed the story from where it left off; Dagmar and Bean flee to their homeland Maru after Dreamland is frozen. The core premise centres on Bean learning of a prophecy she is expected to fulfil, while Zøg stays at his kingdom, craving company in his frozen land.
From here, the randomness and variety of stories ensue as our main character Bean continues to bundle through a world that she mildly understands.
Disenchantment Season 2 is still the usual format of 20-30 minute episodes, making it a smooth, laidback watch. The Netflix Series is not the ultimate recommendation of the weekend, but it’s certainly worth adding to your list. Enjoy the continuation.
Daniel Hart is the Co-Founder of Ready Steady Cut and has operated as Editor-in-Chief since 2017.