Although this certainly wasn't perfect, I find it's frustratingly common for season finales to crumble under the weight of their own hubris these days, so despite the series' imperfections, it's refreshing to see the creators of "Wednesday" were wise enough to never bite off more than they could chew here (in regards to their storytelling) in a single season. Thus, considering the vast majority of plot threads are neatly (& satisfyingly) tied up in an impressively constructed bow, it feels like a really rewarding installment to end on, lightly sewing the seeds for a potential second season whilst not relying too heavily on the existence of one to validate the first's conclusion; most questions are answered, character's emotional arcs reach a decent denouement & the majority of remaining ambiguities are addressed - yet enough potential remains unearthed to justify further additions (providing expansion), should Netflix wish to capitalise on this show's apparent successes.
Plus, the extremely high production values seriously do show throughout, with the sheer quality of the craftsmanship arguably paying off especially in "A Murder of Woes" than in any previous outing, boasting a plethora of skilfully realised set-pieces (housed within production designer Mark Scruton's masterfully inspired interiors) which are inventively captured by the wonderfully talented cinematographer Stephan Pehrsson & director James Marshall. The team work collectively together in order to retain that distinctively gothic, quirky style Tim Burton established, whilst also bringing their own ideas & individualistic contributions to each & every scene until they enhance them further & it's a joy to witness, truly.
Therefore, despite the few irks I had, I'm willing to overlook them because in the grand scheme of things, the pros outweigh the cons & it's lovely to see something of such high standard recieve the attention it rightly deserves. Definitely recommend.
Plus, the extremely high production values seriously do show throughout, with the sheer quality of the craftsmanship arguably paying off especially in "A Murder of Woes" than in any previous outing, boasting a plethora of skilfully realised set-pieces (housed within production designer Mark Scruton's masterfully inspired interiors) which are inventively captured by the wonderfully talented cinematographer Stephan Pehrsson & director James Marshall. The team work collectively together in order to retain that distinctively gothic, quirky style Tim Burton established, whilst also bringing their own ideas & individualistic contributions to each & every scene until they enhance them further & it's a joy to witness, truly.
Therefore, despite the few irks I had, I'm willing to overlook them because in the grand scheme of things, the pros outweigh the cons & it's lovely to see something of such high standard recieve the attention it rightly deserves. Definitely recommend.