In the TV series Yellowjackets on Showtime, at least two versions of each storyline are presented. This duality is emphasized early in the third season’s premiere. Among the group, Van (played by Liv Hewson) shares her perspective of their adventure as a heroic one, describing it as a journey filled with self-sacrifice and also rewards from the wilderness.
Simultaneously, all by herself with her journal, Shauna (Sophie Nélisse) summarizes the same occurrences in a noticeably more disillusioned manner: “A group of teenage girls found themselves lost in the wilderness and subsequently behaved most irrationally.
Neither option seems entirely accurate and neither feels entirely inaccurate – much like labeling this series as merely a mystery-box thriller or a character-driven drama, or describing it as a story set in the woods involving girls or one centered around women dealing with past trauma, doesn’t quite capture its essence entirely.
As a devoted fan, I can’t help but marvel at the captivating richness that “Yellowjackets” exhibits at its finest, especially in its initial thrilling debut season. However, when it falls short, as was the case with the second season, it tends to create a narrative that feels overly bloated and uneven. In its third iteration, the drama continues to grapple with finding the perfect equilibrium. Yet, the compelling character dynamics and exceptional performances remain tantalizing enough to keep me hooked, eager for each new episode.
In certain aspects, the third season presents a refreshing change or reboot. By the 1990s, the girls have survived their initial challenges such as cannibalism during winter, and are now basking in the tranquility of summer. The charred cabin has been replaced by a group of huts, and they’re sourcing food from nearby forests or their own livestock like rabbits and ducks. If one were to use an optimistic term for a group of teenagers who have been stranded for months following a deadly plane crash, they could be said to be doing quite well under the circumstances.
In the edited version of the 2020s storyline, certain tangential storylines have been eliminated. Lottie’s cult seems to have vanished without a trace in the four-hour preview for critics. There are only fleeting references to Tai’s political career and family. The murder mysteries appear to be resolved permanently this time around. Even Natalie’s absence seems less impactful than expected, although Juliette Lewis’ sharp wit is noticeably absent. Characters seem to move on swiftly from these events, with the exception of new characters played by Hilary Swank and Joel McHale, who have yet to make their debut.
From my perspective as a dedicated fan, the eerie, mystical aspects of the show have been subtly toned down in both timelines, shifting the focus more towards the characters’ perceptions and interpretations of ‘the wilderness’ as a supernatural force. Despite occasional unsettling hallucinations and deafening screams for the girls, and a sprinkling of seemingly magical incidents for the adult women, Yellowjackets season three, to date, seems to be the least haunting and least disturbing installment yet. For now, at least.
If this signifies a relatively new beginning, yet the series is still unsure about its precise destination. It boasts striking individual scenes, such as the emotional kiss between Taissa (Tawny Cypress) and Van (Lauren Ambrose), accompanied by Bush’s “Glycerine.” (It’s worth noting that the soundtrack continues to enthrall nostalgic Gen Xers and Millennials.) The series also offers humorous-sad notes, masterfully portrayed by Christina Ricci as Misty, who struggles with her sorrow and remorse over Natalie’s demise. Simone Kessell’s Lottie and Elijah Wood’s Walter continue to add an unsettling strangeness to the storyline. However, the adult part of the narrative lacks focus and cohesion to build significant momentum.
Among the younger group, there’s a stronger bond since they’re confined to one location. Initially, it’s surprising to see the Yellowjackets appearing so cheerful and vigorous, even having the extra energy to play tag in the forest and making beautiful garlands and gowns for a celebratory meal. However, the tranquility is delicate and precarious. Although Natalie may try to dismiss the growing animosity between Shauna and the pampered Mari (Alexa Barajas) as trivial, “just girl stuff,” Taissa (Jasmin Savoy Brown) reminds everyone that “Out here, it’s a matter of life or death.
Introduce Coach Ben’s suspected actions, such as setting their cabin on fire and seemingly perishing, into the group dynamics, and it becomes evident that the peaceful summer atmosphere is on the verge of escalating into something darker. Creators Ashley Lyle and Bart Nickerson skillfully portray the complexities within the group, capturing the nuanced signs of shifting alliances or romantic relationships, as well as the intricate blend of feelings like love, distrust, and desire that each girl harbors towards the others. (This year’s writing team includes Emily St. James and Libby Hill, acquainted with this THR critic.)
Just like with adult situations, it’s hard to tell if we’re witnessing a gradual development or simply stuck repeating the same events. Unlike earlier parts, they hinted at a potential full-blown cannibalism scenario, but now there’s no clear direction for the story. With six episodes remaining, the show could take us to incredible heights, disappointing dead ends, or anything in between. It feels strange that we’re still in the initial phase halfway through the season.
As I follow along with the captivating twists and turns of Yellowjackets, there’s no denying that Shauna holds the core of this story. In an intriguing blend of endearing and unsettling – typical of Yellowjackets – it appears that the collective trauma from season two’s finale has somehow drawn her nearer to Jeff (Warren Kole) and Callie (Sarah Desjardins). Yet, even this slight improvement in Shauna, brilliantly portrayed by Melanie Lynskey, seems to live life within quotation marks. It’s almost as if she’s merely enacting the motions of an adult functioning properly, while yearning for the truer self she once was.
Regarding young Shauna, people may have various opinions, yet she was undeniably vibrant and passionate, bordering on overwhelming. Nélisse skillfully portrays her character, transforming from a shy companion to a resilient survivor, immersed in an anger so profound it seems ready to consume the girl internally, driven by an endless well of sorrow. Simultaneously, both Shaunas’ journeys offer a multifaceted, albeit incomplete, depiction of what was sacrificed and what was earned in that harsh wilderness – whether there were supernatural elements or not. It’s harrowing, it’s heartbreaking, it’s captivating. This is precisely the strength of ‘Yellowjackets’.
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2025-02-14 11:25