If You Don't Woe Me by Now

Can we all just take a moment to appreciate the cinematography in the opening sequence? I know I admittedly sound like such a geek & of course, the rest of this episode is also aesthetically brilliant from start to finish (conveying a plethora of nuanced information pertaining to the series' story arc to the audience in a noticeably striking way throughout) but lord almighty is that scene especially impressive & equally, what a way to immediately set the tone! Let's collectively say "thank you, Stephan Pehrsson" because we visibly owe him a debt of gratitude; an incredible talent & contributing so much to the season as a whole. It's additionally been shocking to see a DoP manage (so effortlessly) to maintain the same established quality of filmmaking, in Tim Burton's absence. Never would've thought someone would be skilful enough to emulate his style - without his intervention.

As for this installment, the show has gone from strength to strength, winning me over; I began as extremely cynical & overly critical, unconvinced by the direction in which this narrative had been taken... Yet I'm enjoying it thoroughly now & despite my initial grievances, I'm willing to put aside those small irks & commend it for its own individualistic achievements, doing its own thing - which wasn't expected at the start. Hence, "Wednesday" feels like the kind of hit Netflix has desperately been seeking - brimming with potential & leaving viewers wanting more.

You're favourite Uncle comes to pay you a visit, he's a curious type and somewhat illicit, has a bit of a spark, although he's generally dark, but he helps you evoke and elicit. Then Thing gets a nasty surprise, when someone decides to incise, but with finger and thumb, Fester revives the strum, and the digits avoid their demise. Then it's time for you to point your own finger, no longer can this monster linger, but you misplay your hand, a new vision demands, that you make off as if you're a sprinter. The end is within touching distance, with a little more grit and persistence, we'll find who's involved, the crime will be solved, there may be a bit of resistance.

Uncle Fester visits Wednesday and helps with her investigations.

This is another good episode that keeps the momentum of the plot going well.

The writers reveal some interesting information about the mystery, but for me one twist is very predictable (if what we see in one key scene is to be taken at face value), and makes Wednesday seem less clever for not figuring it out beforehand. Unfortunately, some of the important moments involve characters I am not that fussed about, but I still find myself wanting to find out what happens in the series finale. Job done, filmmakers!

It is good seeing Uncle Fester and I like Fred Armisen's take on the character. He does feel somewhat forced into the plot, but the writers do put him there to contribute, which is a positive. I like the use of good visual storytelling to show Wednesday's fondness for him by having her smile more in the first two minutes of seeing him than she has in the entire show.

Jenna Ortega leads the cast superbly and is supported well by Armisen, Emma Myers, Gwendoline Christie, Riki Lindhome and Christina Ricci.

As ever the cinematography and art design are excellent.

At last, Ep 7 jolts the show back into higher gear. The investigation heats up, suspects shift dramatically, and the tension that's been simmering finally starts to boil. This is where the season feels like it's pointing directly at the finish line.

Jenna Ortega is, as ever, magnetic: her delivery so sharp it could slice glass. Emma Myers' Enid has one of her strongest turns yet, adding real heart and humour to the darkness. Gwendoline Christie continues to dominate as Principal Weems, and Joy Sunday's Bianca finally gets moments that pull her out of cliché and into genuine intrigue.

And then there's the big arrival: Uncle Fester (Fred Armisen), bringing a burst of chaotic energy and perfectly offbeat comic timing. His presence reminds you this is still an Addams Family story at its core: weird, warm, and just the right amount of unhinged.

The plotting is tighter, the reveals punch harder, and even though the Burton-esque visual eccentricity hasn't fully roared back, the urgency in the storytelling makes up for it. You can feel the noose tightening around the central mystery, and it's a thrill watching Wednesday untangle it with that trademark disdain for literally everyone in the room.

Not flawless, but a strong rebound... stylish enough, sharp enough, and definitely setting the stage for a finale that needs to deliver.