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Many of our favorite TV shows construct a “perfect” first season, complete with a well-developed central conflict and character arc. When that story ends, writers often don’t know where else to go. However, a rare few use their established characters and rhythm to create an even stronger second season. Read on for seven of the best examples.
‘Fleabag’
“Fleabag” has two notorious characteristics: fourth wall breaks and a hot priest, only one of which appears in the first season. “Fleabag” opens with its protagonist at a depressing low, whose comedy is dark and crude. From scene one, the titular Fleabag (played by the show’s creator and writer Phoebe Waller-Bridge) is already a robust, well-written character, yet her Season 1 storyline is at times too raunchy, holding it back from deserving the same overwhelming acclaim as Season 2.
Season 2 switches gears to a more romantic and hopeful plot in which Fleabag meets a hot priest (Andrew Scott), finding true connection with him and her family for the first time since she lost her best friend. Both seasons are equally deep and comedic, and Season 1 may be perfect for those in a dark period of their life. But for most audiences, it’s easier to connect to and fall in love with the newer, more optimistic world that Waller-Bridge creates in Season 2.
‘The Office’
Die-hard lovers of “The Office” may appreciate the classic episodes, including “Diversity Day” and “Basketball,” that open the famous sitcom’s first season. For others, the first six episodes are a barrier to access to the “good parts” of the show. “The Office” is based off of the British show of the same name, in which the lead boss David Brent (Ricky Gervais) is rude and blunt, matching British senses of humor. Initially, the American show’s characters strongly mirror their British counterparts, and as a result are far too unlikable and honest for an American audience.
By Season 2, the writers redefine lead Michael Scott (Steve Carrell) to be cringeworthy yet kind and solidify the rest of the cast, setting themselves apart from the U.K. version. Once the show finds its footing in cringe comedy, the writers take off with beloved episodes such as “The Dundies” and “Booze Cruise,” furthering the romantic arc between Jim Halpert (John Krasinski) and Pam Beesly (Jenna Fischer), which culminates in the iconic Season 2 finale “Casino Night.”
‘White Lotus’
“White Lotus” differs from other shows on this list. Its seasons follow similar plots — with an out of touch family, a broken relationship, the hotel staff, and Tanya McQuoid (Jennifer Coolidge) — but feature different casts of characters. Season 1’s characters are caricatures of wealth, including children who are unrealistically spoiled and rude — somehow free of discipline — and a couple with no clear reason for romance, with a douchebag husband paired with a deer-in-headlights wife.
By contrast, in Season 2, we see the intergenerational dynamic of a family, where the son Albie Di Grasso (Adam DiMarco) is more realistically spoiled, performatively trying to hide rather than show off his privilege. Moreover, Season 2 contrasts one couple coming into wealth with one born into it, creating a sharper criticism on how wealth shapes relationships. Small tidbits of scenes perfectly encapsulate this divide, such as when Cameron (Theo James) buys a new wardrobe at the expensive hotel boutique, not stressing over money, but rather over the inconvenience of having lost his suitcase. Lastly, the workers in this season share a more intimate relationship, both with each other and with the hotel guests. In these relationships, the workers ultimately triumph over the guests, which — although less realistic — provides a more satisfying finale than Season 1.
‘Succession’
“Succession” opens strong with its well-written and complex characters. Season 1 builds their foundation through plots such as Tom Wambsgans (Matthew Macfadyen) and Shiv Roy’s (Sarah Snook) wedding, Roman (Kieran Culkin) and Connor Roy’s (Alan Ruck) new romances, and Kendall Roy’s (Jeremy Strong) cycle of self-sabotage with his father, Logan Roy (Brian Cox). While Season 1 writes the characters, Season 2 has the leeway to use these characters in more robust plots, and the result is spectacular. Every plot becomes iconic to the series: the cruise, the Pierces, boar on the floor, the court case...Laced through these plots are several incredible comedic bits such as Greg’s (Nicholas Braun) testimony and Tom’s interview of an alleged Nazi. And most notably, Season 2 reveals a more cunning, intelligent edge to Kendall, one brought to a head in a perfect finale.
‘New Girl’
“New Girl” presents a similar case to “The Office,” in which the show’s comedy is built on the personalities of the main cast. Where Michael Scott starts off too mean, Jess Day (Zooey Deschanel) starts off too cringeworthy, but as Jess’ character settles in Season 2, the show takes off. The writers similarly tone down Schmidt’s (Max Greenfield) arrogance and misogyny, and flesh out the character of Winston Bishop (Lamorne Morris), who was only written in after the pilot. In making the characters kinder and more easily digestible, “New Girl” begins to appeal to a larger audience, with comedy that is rendered heartfelt and funny through the characters rather than at the expense of them.
‘Suits’
While “Suits” opens to a near-perfect pilot, the rest of Season 1 doesn’t quite signal at the heights of Season 2. Each season follows nearly identical episode structures, however, Season 1 heavily tracks the conflict between talented lawyers Mike Ross (Patrick J. Adams) and Trevor (Tom Lipinski), whereas Season 2 follows the conflict between name partners, Jessica Pearson (Gina Torres) and Daniel Hardman (David Costabile). In the former, the viewer is left stressing over Trevor’s drug trade and character arc, which detracts from the main plot at the firm. In the latter, the viewer is on the edge of their seat, rooting for Mike and Harvey Specter (Gabriel Macht) to find a solution to overthrow Hardman and Louis Litt (Rick Hoffman). This shift gives the writers the plot to create some of the best episodes of the show, including “Sucker Punch” and “High Noon.”
‘Sex and the City’
Season 1 of “Sex and the City” primarily focuses on Carrie Bradshaw (Sarah Jessica Parker) and her relationship with Mr. Big (Chris Noth). While their relationship begins quite casual — at least to Big — it swallows the show whole, leaving little space for other plots. Season 2 opens with a single, heart-broken Carrie; room opens for Miranda Hobbes (Cynthia Nixon) to meet Steve Brady (David Eigenberg), as well as for the show to explore Charlotte York (Kristin Davis) and Samantha Jones’ (Kim Cattrall) opposing dating lives. Even when Mr. Big comes back into the story, he’s more complex as he enters a serious relationship with Carrie. Furthermore, the introduction of Natasha Naginsky (Bridget Moynahan) draws a contrast between the prim and proper woman and the raw, honest main cast of the show. Ultimately, the writers figured out where they wanted to take the show and executed it perfectly, constructing excellent episodes from the opening to the finale: A heartbreaking acceptance of Big’s engagement.
—Staff writer Anat Goldstein can be reached at anat.goldstein@thecrimson.com.
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