Winona State University's Newspaper since 1919

The Winonan

Winona State University's Newspaper since 1919

The Winonan

Winona State University's Newspaper since 1919

The Winonan

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In review: “Unbreakable Kimmy Schmidt” season two

In review: “Unbreakable Kimmy Schmidt” season two

Nathaniel Nelson / Winonan

When “The Unbreakable Kimmy Schmidt” premiered last year, it kickstarted Netflix’s original programs with style. Written and produced by the same people behind “30 Rock,” a stellar cast, a great concept, genius theme song and one of the most progressive directions seen on TV.

It was witty, ridiculous, heartwarming and joyous all at once. The second season keeps many of the first’s highs, fixes a few of the lows, but pacing issues and a lackluster finale show that “The Unbreakable Kimmy Schmidt” might not be so unbreakable.

Tina Fey and company are in top form as far as the humor goes. Though some of the jokes tend to be a bit insensitive at times, it is still hilarious and the progressive LGBT-positive overtones are a welcome addition.

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In each episode, there is also a single joke that starts small before hitting the punchline in the final few minutes. In the first episode for example, every character spouts off Kardashian facts before immediately questioning why they know them. It is ridiculous.

A few of the jokes don’t land as well as they should, and there’s a bit more cringe humor than last season. Most of the textual and visual jokes are on point, but the writers of  “Kimmy Schmidt” really need to work on their physical humor.

While there were a few solid additions to the cast, most notably Anna Camp as Deirdre Robespierre, the big surprise of the season is that of Tina Fey as Kimmy’s psychiatrist, Angela. Angela has two personalities: an upstanding doctor during the day, and an insane drunk at night. There are moments where night-Angela starts roasting day-Angela, and day-Angela writes notes so night-Angela doesn’t go drinking. It’s completely bonkers. Fey’s performance is scene stealing, however, that’s not necessarily a good thing. Angela becomes a kind of crutch for part of the season, taking away from Kimmy’s story.

As for the old characters, it’s a mixed bag. Kimmy (Ellie Kemper) is adorable and hilarious as always, but with a new edge. After the midpoint of the season, and her first meeting with Angela, Kimmy gains some stellar character work. Titus (Tituss Burgess) has some great moments, a new boyfriend, and a newfound love of unemployment, but spends the rest of the time being too loud. Lillian (Carol Kane) will forever be the best character of the show, but frankly, there just wasn’t enough of her. Finally, I’m glad they brought back Jacqueline’s (Jane Krakowski) Native American side in the second half, after it seemed that they had left it on the cutting board.

Now for the main problem: pacing. The first four episodes or so were middling, and just sort of there. The humor was on point, but there was a distinct lack of plotting in the early moments. Then, halfway through the season, the show takes a massive tonal left turn into dramedy territory. While good for the show, the shift was more than a bit jarring. Then there’s the ending. We’ve all seen endings where something comes out of left field and saves the day. But this was more like something coming from right field and screwing everything up for everyone. There should always be closure at the end of the season, not a massive question, that goes for you too, “The Walking Dead.”

All in all, I can’t be too disappointed with the second season of  “Kimmy Schmidt.” It’s still goofy as can be, and does more than a few things better than everyone else. The commentary on racism and sexism is always a good thing to see, and the new stylistic direction is a welcome change. While there were a few missteps in the process, Netflix is keeping the hype train rolling. Even with a few cracks, “Kimmy Schmidt” is still a great watch.

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