New Season of ‘Wednesday' Is Even Darker Than Before
Netflix just unveiled a new trailer for the second season of Wednesday, the dark comedy series inspired by The Addams Family.
Last season, Wednesday (Jenna Ortega) enrolled in Nevermore after a violent incident at her former school. There, she quickly becomes involved in investigating a series of murders committed by a monster who roams the woods surrounding the academy, only to uncover a nefarious plot connected to her family's dark past.
This time, Wednesday returns to the academy as a celebrated hero (much to her annoyance). At first, the semester kicks off relatively calmly. But when Wednesday's psychic abilities start showing her dreams of her roommate, Enid Sinclair's (Emma Meyers) death—and it seems to be all her fault—Wednesday must face new and old foes alike to stop the tragedy before it's too late.
'Secrets are the bedrock of the Addams family,' Wednesday says in the trailer, as the dramatic main theme from the Phantom of the Opera musical plays over her narration. 'The sooner I get answers, the sooner I can save Enid… Or die trying.'
Created by Alfred Gough and Miles Millar, known for their work on Smallville and Tim Burton's Beetlejuice Beetlejuice, the show sees the return of Luis Guzmán, Emma Myers, Joy Sunday, Fred Armisen, and Hunter Doohan. There will also be new season regulars, including Anthony Michael Hall, Billie Piper, and Steve Buscemi.
After nearly a three-year break, fans of the show couldn't be more thrilled for season two to finally premiere. And from the looks of the trailer, there is a lot to get excited about.
Wednesday and Enid seem awfully 'close.'
As one viewer pointed out, 'Wednesday's no longer fighting weirdo allegations but gay girl kisser wlw lesbian allegations.'
Then, there is the whole, 'I will die trying to save you' thing.
''Enid dies and it's all my fault.' THE PAINN IN HER EYES OH WEDNESDAY,' an X user commented.
Others are looking forward to the return of the older Addams family members, like the queen herself, Morticia Addams (Zeta-Jones).
Part one will hit the streaming platform on Aug. 6, with part two arriving on Sep. 3, giving everyone the perfect 'spooky' start to the autumn season.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
a minute ago
- Yahoo
Horror's middle class is vanishing – and that's bad news for all film fans
Does no one want to watch people get butchered any more? Horror, long recognised as one of Hollywood's most reliable cash cows, is in a panic: few scary movies are breaking through financially in 2025, many more are cratering completely, and questions are being asked about the future of a genre that once seemed as durable as Jason Voorhees. Forget the death of the archetypal movie star: if sassy psycho-cyborg M3GAN can't open a movie, who can? Back in 2022, the first M3GAN – about an artificially intelligent doll with a bloodthirst – grossed $182m (£135m), including $78m of pure profit for its backers at Universal Pictures and the micro-budget horror studio Blumhouse, off a production budget of just $12m. Thanks to smart marketing, which turned its leading lady's incongruous dancefloor skills into a spooky meme, M3GAN ended up exemplifying the dream outcome of the modern studio horror film: low-cost, big-brain thrills with such inescapable dazzle that audiences couldn't not seek it out. Why, then, did last month's M3GAN 2.0 go so badly? In four weeks, the more action-oriented sequel has grossed a measly $38m worldwide, a result so mortifying that the head of Blumhouse put his hands up within days of its release and admitted to having totally missed the mark. M3GAN 2.0 isn't alone, either. This year has seen a staggering number of horror films die at the box office, among them Blumhouse's reboot of Wolf Man ($34m gross on a production budget of $20m), the Ayo Edebiri horror comedy Opus ($2m gross/$10m budget), Jenna Ortega vehicle Death of a Unicorn ($16m gross/$15m budget), the well-received adoption chiller Bring Her Back ($23m gross/$15m budget), and last week's revival of the Nineties hit I Know What You Did Last Summer, which opened to a flat $13m in the US. Yes, these films' production budgets are lean (though the extent of marketing budgets is largely kept under lock and key), and many of the above titles will ultimately break even once video-on-demand grosses are factored in – but none of their respective backers will be happy with what amounts to loose change. On the other end of the spectrum, meanwhile, are this year's handful of out-and-out horror smashes, most significantly the Michael B Jordan vampire film Sinners, which cost a reported $100m to make but has grossed $365m. There's also been Final Destination: Bloodlines ($285m and counting on a budget of $50m) and Danny Boyle's 28 Years Later, which has so far grossed $145m on a budget of $60m – not wildly profitable, by any means, but decent enough. So people are still going to see horror on the big screen, but – echoing the Western world as a whole – horror's middle class is evaporating. The genre seems to either go big or collapse entirely. Any kind of financial in-between is rapidly becoming a thing of the past. All this leaves a film such as next week's Weapons carrying undue levels of pressure. A missing-persons thriller starring Julia Garner and Josh Brolin, it revolves around the disappearance of a class of children in small-town USA, and serves as filmmaker Zach Cregger's follow-up to his 2022 sleeper hit Barbarian. Promotion for the film has been strong – lots of abstract and eerie imagery in trailers, and attempts at virality via the publishing of two hours of 'surveillance footage' from the night of the children's 'disappearance'. But the stakes feel particularly high. Weapons sparked a bidding war between rival studios when Cregger first unveiled his script, with Warner Bros so eager to get the up-and-comer on side that they coughed up a $38m budget for the film, and allowed him final cut. If Weapons underperforms, this kind of investment in a young, ambitious filmmaker's original ideas may become even rarer than it is already. Why this is bad for everyone is that, in the last decade or so, horror has been one of the few genres to wholeheartedly embrace fresh ideas and fresh voices. The likes of Jordan Peele's Get Out (2017), Coralie Fargeat's The Substance (2024), Ari Aster's Hereditary (2018) and Robert Eggers's The Witch (2015) proved that audiences will turn out in droves for intriguing new concepts, no matter how wild they might seem on paper – and in the process, an entire generation of buzzy new filmmakers developed fanbases, industry clout, and (relative) name recognition. Speaking to The Town podcast shortly after M3GAN 2.0 bombed, Blumhouse head Jason Blum suggested that there is simply too much horror being released for many films to break through, and that the cheap-to-produce movies that were Blumhouse's bread and butter (their biggest hits have included Get Out, Us, The Invisible Man and the Purge franchise) no longer cut it. 'We need to up the budgets,' he insisted. 'People need theatrical events.' Which is, I suppose, accurate. This year's most successful horror films had heavy promotional spends behind them, while even the most financially lucrative horrors of 2024 – meaning the low-cost, high-return likes of The Substance and Oz Perkins's Silence of the Lambs pastiche Longlegs – were transformed into must-see 'events' via relentless and effective marketing. But just as important is the actual quality of material on offer, with far too many modern horror movies settling for tedious mining of intellectual property and repetitive premises (Knives Out and Midsommar have created an unfortunate cottage industry of star-studded, eat-the-rich, religious-cult disappointments). Blumhouse have been particularly guilty of this over the last 18 months, tossing out a raft of movies that felt as if they were formed backwards from an already unimpressive elevator pitch: Night Swim (haunted pool!); AfrAId (haunted Alexa device!); House of Spoils (Ariana DeBose!). Things may, however, be looking up. As much as it pains me to slander a film that made smart use of Nineties stalwarts Freddie Prinze Jr and Jennifer Love Hewitt, it is something of a relief that I Know What You Did Last Summer couldn't get people in cinema seats last week. A largely serviceable but poorly directed slasher pastiche, the film may have lifted the story beats and faces from the 1997 original, but it failed at the things that truly matter: character development, suspense, memorable chase sequences. It seemed to prove that, when it comes to horror, box-office success in 2025 requires far more than just dusting off some old IP and hoping for the best. Hollywood does have a knack for taking all the wrong lessons from its success stories. (Just look at how Barbie's gargantuan box office has led to the development of loads of other movies about toys.) But wouldn't it be lovely if the triumph of Sinners sparked an influx of expensive, original horror movies moving forward – and not, well, Sinners 2. 'Weapons' is released 8 August
Yahoo
a minute ago
- Yahoo
How Happy Gilmore 2 subtly honors Adam Sandler's late co-star Cameron Boyce
Adam Sandler managed to sneak in a subtle, yet heartwarming, tribute to his late Grown Ups co-star Cameron Boyce in the new Happy Gilmore sequel. Happy Gilmore 2, out now on Netflix, follows Sandler's titular retired golfer, Happy Gilmore, as he returns to the sport in order to pay for his daughter to attend a Parisian ballet school. It comes nearly 30 years after the original 1996 classic sports comedy. In one scene, Happy is seen walking up to a golf course check-in booth with a bag of clubs on his shoulder. As he nears the desk, the attendants inside are watching what appears to be an episode of Disney Channel's sitcom Jessie. The screen quickly flashes to show Boyce's character Luke Ross, whom he played throughout the show's entire 2011 to 2015 run. The brief nod to Boyce — who starred as Sandler's on-screen son in the 2010 family comedy Grown Ups and its 2013 sequel before his sudden death in 2019 — has left fans overcome with emotion. 'Adam Sandler honoring Cameron Boyce in Happy Gilmore 2 melts my heart,' one said on X, while a second added: 'Excuse me while I sob.' A third commented: 'Adam Sandler subtly including Cameron Boyce in this scene from #HappyGilmore2 hits different.' 'Happy Gilmore 2 was great,' another praised. 'The honoring of Cameron Boyce was such a cute and awesome Easter egg. Bottom right of the screen they're watching them on TV. Adam Sandler you killed it. Family is very happy.' Someone else on TikTok wrote that the tribute 'is hurting and healing my heart at the same time.' Boyce was only 20 when he died after experiencing a seizure in his sleep. At the time, his family released a statement, explaining the seizure 'was a result of an ongoing medical condition for which he was being treated.' 'The world is now undoubtedly without one of its brightest lights, but his spirit will live on through the kindness and compassion of all who knew and loved him. We are utterly heartbroken,' they added. Sandler was among many celebrities to honor Boyce after his death, posting on X: 'Loved that kid. Cared so much about his family. Cared so much about the world. Thank you, Cameron, for all you gave to us. So much more was on the way. All our hearts are broken.' Boyce isn't the only celebrity to make a surprise cameo in the new movie. Dozens of other cameo appearances from professional golfers, athletes and celebrities — some of which were announced when the film was in production — are also featured. Happy Gilmore 2 is streaming now on Netflix.


Miami Herald
2 minutes ago
- Miami Herald
What happens behind the scenes in WWE? This SMU alum shows you exclusively on Netflix
Did you ever wonder what happens behind the scenes in WWE? WWE (World Wrestling Entertainmant) is the top pro wrestling / sports entertainment company in the world. The financial success of this long-running organization has other pro sports groups taking notice. There's the athletic side of WWE and also the entertainment side. Yes, fans know results are predetermined, but who and how it's determined who will win are part of the company's mystique. It's a process, a very interesting process. SMU alum Chris Weaver will give you a first-hand look at what occurs there as the director of the new docuseries 'WWE: UnReal,' which premieres July 29 on Netflix. From Monday Night RAW to WrestleMania, 'WWE: UnReal' goes backstage with WWE Superstars and staff as they bring the company's major spectacles to life. Season 1 covers from January to WrestleMania in April. So, WWE's biggest battles aren't always in the ring. 'WWE: Unreal' dives into the writers' room where legends — and feuds — are made. Paul Levesque, a 14-time WWE World Champion best known in the ring as Triple H and WWE's chief content officer since 2022, serves as the narrator of the docuseries. Weaver, who has a degree in Communication Arts: Cinema with a minor in English from Southern Methodist University (SMU) in Dallas, is a senior producer for NFL Films, including the successful NFL reality docuseries 'Hard Knocks' on HBO. He is in his 22nd year working with NFL Films. Prior, he was an intern in the Broadcast Department for the Dallas Cowboys. During his teens years, Weaver gradauted from Mesquite High School in 1998 outside Dallas. Here is my video interview with 'WWE: UnReal' Director Chris Weaver. Weaver is a 9-time Emmy winning filmmaker. He has been instrumental in developing and launching new series such as 'Quarterback' for Netflix, 'Hard Knocks: in Season' for HBO, 'Peyton's Places' for ESPN+, 'All or Nothing' for Amazon, 'NFL Icons' for MGM+, 'NFL Films Drawn' for Youtube, and now 'WWE: UnReal: for Netflix. He has produced numerous features for 'Hard Knocks: Training Camp' for HBO, 'NFL Films Presents' for FS1, 'NFL Gameday All Access' for Youtube, 'Inside the NFL' for CW, 'Hey Rookie: Welcome to the NFL' for ESPN, 'A Football Life' for NFL Network and many more. His current focus is on story producing, lead editing, writing, and field directing. In an unprecedented turn, 'WWE: UnReal' takes you behind the scenes - into the writer's room and the homes of WWE's greatest Superstars - to show the year-round work it takes to execute one of the most secretive shows in the world week over week. And when the curtain falls down, the business of getting a show to air is just as compelling as the Main Event. Trailer: NETFLIX: JULY 29, 2025 EPISODES: 5 episodes x 50 Minutes EPISODE TITLES: Episode 1 - New EraEpisode 2 - PushEpisode 3 - Worth The WaitEpisode 4 - Heel TurnEpisode 5 - Wrestlemania THOSE FEATURED: Triple H, Cody Rhodes, John Cena, Rhea Ripley, CM Punk, Jey Uso, Bianca Belair, Chelsea Green, Charlotte Flair, and Xavier Woods. Logline: For the first time ever, step into the WWE writer's room and outside the ring with your favorite WWE Superstars, where the drama is just as intense offstage as it is under the spotlight. Director: Chris Weaver Showrunner: Erik Powers Executive Producers: Peyton Manning, Jamie Horowitz, Ross Ketover, Keith Cossrow, Ken Rodgers, Jessica Boddy, Lee Fitting, Ben Houser, Marc Pomarico Production Companies: Omaha Productions, NFL Films, Skydance Sports, WWE Visit: