CARA DELEVINGNE AND ORLANDO BLOOM WANT A BATH IN THIS EXCLUSIVE LOOK AT SEASON 2 OF CARNIVAL ROW

In the second season premiere of the prime video fantasy series, DELEVINGNE's VIGNETTE teases BLOOM's PHILO, saying, "THESE WINGS WON'T WASH THEMSELVES."

In the opening episode of Season 2, Carnival Row features a character who desperately needs a bath. After a hard day of working for the welfare of the Pix society of supernatural creatures, Fae lovers Rycroft "Philo" Philostrate (Orlando Bloom) and Vignette Stonemoss (Cara Delevingne) have a quiet time together. The humans have incarcerated the Pix in a Burgue area, where sickness is slowly killing out the already fragile civilization as a result of bigotry and political intrigue. Philo and Vignette, who have come to care deeply about these creatures, both take the helm of an initiative to better their lives.

Season 2 of Carnival Row follows ex-inspector Rycroft Philostrate (a.k.a. Philo) as he investigates a string of brutal murders that are fueling societal tension in a fantasy world where humans and monsters are at odds. In this scene, Stonemoss and the Black Raven plan revenge against The Burgue's human rulers, Jonah Breakspear (Arty Froushan) and Sophie Longerbane (Caroline Ford). Tourmaline (Karla Crome) has a gift of extraordinary abilities that put her and The Row in danger. And Imogen Spurnrose (Tamzin Merchant) and her boyfriend Agreus Astrayon (David Gyasi) find a radically new society that upends their plans after leaving The Burgue and her furious brother Ezra (Andrew Gower). In the dramatic climax of Carnival Row, with humans and fae people split and freedom at stake, each hero will confront unfathomable challenges and soul-defining tests.

More than a few snags plague Season 2 of "Carnival Row," as Reviewed here.

The long wait for Carnival Row Season 2 is over, but it may not have been worth it. Season two begins after the events of the first season, which saw the magical beings known as faeries and other such beings locked up in the area known as Carnival Row. Both Orlando Bloom (as the former Inspector Rycroft Philostrate) and his ex-lover Vignette Stonemoss (whom he married) are included (Cara Delevingne). But, Rycroft is quickly recalled to the Burgue to investigate yet another spate of terrible killings. They're connected to the Black Raven this time, an organization of faerie freedom warriors that Vignette has just joined. As a result, they become estranged from one another.

Agreus Astrayon (David Gyasi) and Imogen Spurnrose (Tamzin Merchant), a faun who has just fallen in love with her, are on the run from Imogen's brother Ezra (Andrew Gower). Ironically, Agreus and Imogen's adventures lead them to a region that has been overtaken by the Pact, the deadliest foes of the Burgue. Meanwhile, Arty Froushan's Jonah Breakspear keeps climbing the political ladder, only to realize he may not be as effective a chief executive as his late father Absalom.



Everything you've heard thus far is probably familiar since Season 2 follows the same formula as Season 1. Rycroft and Vignette are at the heart of a mystery that will unfold during the season. The treatment of fae as second-class citizens by humans has sparked a political controversy. There's also a lot of gore and flesh showing. Several series have repeating features throughout their arcs, but it's unusual for an entire season to be a direct sequel to the first. The show's artistic direction has changed many times in recent years, which just adds to the disappointment. Production was hampered by COVID, co-creator and previous showrunner Travis Beacham left, and the gap between seasons was mostly filled by other fantasy series on Amazon Video.

The difficulty of trying to cause friction between Rycroft and Vignette is perhaps the most irritating thing about Season 2. We're back to square one after a whole season of them making up for their sins and getting back together. And in lightning speed, too; in the second episode, their argument centers on the dangers of taking chances, rather than the fact that they are both attempting to aid the fairies. It's only that their methods vary. Despite growing suspicion, Vignette still believes the Black Raven is acting morally. Rycroft is conflicted about whether to remain with the fairies or use his power as Absalom's heir to bring about real change. I don't believe either Bloom or Delevingne liked the creative choices made, and it seems like the authors sat around trying to come up with ways to create tension but ultimately came up empty. Stopping any episode allows you to see the puzzlement (or annoyance) written all over their faces.


As the focus of Carnival Row moves to Agreus and Imogen, the plot really takes off. They both find out the hard way that sometimes not even a lot of money or a lot of fame can get you out of a sticky position. The Pact is developed more; they are no longer the nameless enemies they were in Season One, but rather sad characters with their own backstories. This is also the greatest performance of the season from Gyasi, and it's when the show's political ambitions really shine. He uses Agreus' intrinsic sense of isolation to show a guy who, at heart, is searching for acceptance and belonging in a world that doesn't seem to want him. Towards the conclusion of the season, I found myself wishing that the plot had centered on Agreus, the show's most intriguing character.

The oppressed metaphor seen throughout Carnival Row is given some much-needed weight by Agreus' situation. Employing magical or superhuman characters to represent the oppressed may be a double-edged sword: the stories you tell will likely be moving, but they will also likely center on the struggles of individuals who are white, heterosexual, and averagely handsome. Gyasi's portrayal of Agreus, who is Black and a mythological monster, gives the character an air of authenticity and adds depth to his dialogue. This is in stark contrast to Rycroft, whose fae ancestry is only alluded to briefly. The efforts to give it weight are laughable, and it was one of the worse parts of the first season. I nearly yelled at the television when Rycroft claimed to understand what Vignette was going through. She was forced to leave her house, whereas he enjoys practically complete investigative latitude. Definitely not the same.

Season 2 of Carnival Row mostly repeats the formula established in the first season, making for a tedious watching experience. The first season had so much potential and might have flourished in the fantasy television scene, so this is really disappointing. The actors and crew should have been given a more fitting farewell, and may their future endeavors be more successful.

Review of Episode 7 of Season 2 of Carnival Row: "Kindred" No Inspiration in Reruns


Carnival Row is losing some of my trust. Certainly not because of the acting, which has been rather good overall (particularly from the large supporting cast). But more importantly, the show has been increasingly recycling the same story elements in recent episodes: a conflict between the police and the Black Ravens, a murder committed by the Sparas, and the hint of a romantic interest.

The punishment the police meted out to Philo following last week's introduction of the Sparas is what disturbs me the most. The verdict? The killings on Carnival Row must be stopped. Well, it's the same thing he's been doing the whole time.


Episode 7's resolution, in which Detective Legolas decides to straddle the "who am I?" divide, is ridiculous. How about a human or a Fae? Once again, a decision was made, only to be reversed because of doubt.

An otherwise disappointing Agreus and Imogen episode opens with the family doing a dance and drinking beer before attempting to carry out their plot to flee Ragusa. Plans never go according to plan in this series, whether it's a group of Black Raven Faeries sabotaging Philo's big statement to Parliament about his position as the Chancellor's other son or last week when we decided England didn't need a government. The same holds true for this week.

Meanwhile, Philo spends a lot of time this week lamenting his decision to side with humanity, while maintaining the illusion that he ever made a decision in the first place. While on a drinking binge, Darius has to bail him out a few times until he comes to his senses.

In the meanwhile, Darius has, for some reason, become the show's most believable character, rivaling Millworthy himself. Darius is aware that most people on Carnival Row have a low opinion of themselves. The government in particular. That's progress, right there. One of the main challenges Philo faces this season.


Given that he persists in taking a neutral stance, Philo is possibly the weakest character in the series. Despite the scorn, he's received and the abuse he's suffered. The detective is willing to perform his job and act as a peacemaker for next to nothing. To go to Tirnanoc safely, the protagonist of Philo's detective tale of the week goes to the now-powerful Mr. Millworthy in Parliament. For all the faerie, not just his pals. Until we recall that Millworthy, kind of understands Philo's a thankless hero-of-sorts looking out for everyone for the sake of... really, we don't know anymore—the kind of white savior complex this involves is a bit troubling.

Is he simply a wonderful person, or what? As Philo has already lost everything, he no longer has any real incentive to do the right thing in the program. His girlfriend and his position as a police officer summed up his relatively limited range of personality traits. Even still, Philo is uninterested in returning to Faerie with the Fae.

Meanwhile, Vignette spends much of it plotting how to secretly get Tourmaline out of The Row (which makes me sad, given I'm currently rooting for Darius and Tourmaline). I'm not convinced by their love story, and Vignette's character development has gone downhill fairly quickly. She sees aiding her closest friend and ex-lover at the last minute as a way to atone for her own sins. She's putting up a good show to convince us she's honest and trustworthy. She isn't really, however. Furthermore, many of the awful crimes we've witnessed in recent episodes may be traced back to her mismanagement of the Black Raven. The supposed attraction between Vignette and Tourmaline isn't working for me either.


The episode's midpoint features a scenario in which the characters collectively wonder, "How did we get here?" Where precisely do you want to go, since we... didn't. The city's hate crime problem has, if anything, become worse.

On the plus side, the episode's second half, which focuses on the characters, is my favorite part. Examining social stratification and political intrigue is where the show really shines. The finest parts of this episode include the human prejudice towards the Fae on the Row. Particularly considering the chancellor's murder (and also, just general racism).

The program is at its strongest when it focuses on the people of the town and their politics, rather than the love narrative, which has become tedious due to its circular nature. Totally squandering our precious time.


When Vignette meets someone who has lived on the Row all her life, she learns that being a pioneer immigrant to a foreign land has its advantages. They're indeed living in squalor, but it's their version of squalor. Later on, we see Darius agree that the city has a certain allure.

I believe that this is what the audience enjoys most about the presentation. But, how does this episode end? Well, that's not it.

The conclusion is like playing the final two episodes over and over again. And it makes me anxious.

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