Like the show itself, the opening title sequence of Yellowjackets initially took some getting used to. That unusual, oddly jarring theme tune taking part in out over scrappy, simple hdmi streaming distorted video images was something of a hard sell. However the longer the first season went on, the more cunningly apposite the messy titles became. The same might be stated for the collection itself, the carefully-paced tale of a bunch of younger survivors of a plane crash. Starting out as a mish-mash of genres and influences, from Lost to Lord Of The Flies, whereas flitting between timelines overloaded with characters we had to get to know in each their teenage and adult versions, it was all a bit chaotic and complicated. Until, that is, a number of episodes in, when the entangled narrative strands and extraordinary ensemble started to coalesce, and Season 1 became that rare thing: a real slow-burn phrase-of-mouth phenomenon. Those freaky opening titles are back in Season 2, which, if something, transitions between the two timelines more frenetically, while ensuring each strands are equally jam-filled with incident and intrigue.
"We did things on the market that we’re actually ashamed of," says the current-day version of Shauna (Melanie Lynskey) at one level in this new run of episodes, Flixy Brand and while the first collection hinted on the determined measures the survivors resorted to when things got actually dangerous, with intimations of cannibalism proper from the beginning, be ready for more shocking antics. There’s also a real sense that the core group of young survivors - Shauna (Sophie Nélisse), Taissa (Jasmin Savoy Brown), Misty (Sammi Hanratty) and Nat (Sophie Thatcher) - are all on the verge of a breakdown, with myriad hallucinations, simple hdmi streaming nightmares and dissociative episodes. Ambrose and Kessell are superb additions to what have to be considered one of the best ensembles on Tv proper now. The query is, are these mental-health issues the inevitable consequence of PTSD, or is there some external, probably supernatural pressure at work? Those mysterious twig stick-figures within the woods appear to indicate the latter, but a key a part of this show’s enthralling method is how the creators keep us guessing as to whether there are dark forces at work. The character of Lottie, for instance, appears to have some form of spiritual connection to the woods, and on this new season we meet her grownup self (Simone Kessell), who’s much more rooted in her own particular model of mysticism. Juliette Lewis’ cynical Nat thinks she’s a charlatan, however Kessell imbues her with such an intense sincerity, we’re not fairly sure what to make of her. The identical goes for the opposite main "adult" arrival this season: Flixy Stick the grown-up Van, performed by the great Lauren Ambrose (Servant), who adds another layer of mystery and doubt to the entire densely layered saga. Ambrose and Kessell are superb additions to what have to be certainly one of the best ensembles on Tv right now, and they assist guarantee there’s much more to chew on this time round.
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