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The show “Nobody Wants This” season two became something season one never was: bland.

When Nobody Wants This debuted last October, and my mom suggested it as something to watch, I was not expecting it to have any lasting impact. At first glance, the show appears as nothing more than a run-of-the-mill sitcom, but to my shock, it had me hooked from the very first episode.

Nobody Wants This is a comedy that tells the story of the unconventional romance between agnostic podcaster Joanne Williams (Kristin Bell) and rabbi Noah Roklov (Adam Brody). The two 30-somethings meet and immediately hit it off, despite their contrasting personalities and religious beliefs. As their relationship grows, the pair begins to struggle with their polarity in both religion and outlook on life. 

Season Two picks up where the first left off: with Joanne and Noah continuing to figure out how to move forward in their relationship together, even when their differences keep them apart.

Upon first watching Season One last year, the show immediately stood out to me. Its plot, about a couple learning to resolve religious differences, was unlike any show I had seen before. I also appreciate that the show featured characters over 35 who are still figuring out their lives and can have new romances. All of the characters were layered, off-beat, witty, and hilarious to watch. The show also takes place in the gorgeous and hazy backdrop of LA.

I have been incredibly excited for Season Two for the past year now. I watched the trailer multiple times, and I have had the release date committed to memory for weeks now. But, as I finally got to watch it, I couldn’t help but get a feeling of disappointment.

Throughout Season Two, watching Joanne and Noah perpetually battle their incongruities gets old. Season Two took very few risks, especially where the main couple is concerned, and it struggles for it. Season One was very successful, and because of this, the writers seemingly did not want to change their already proven formula, but it made season two bland and, honestly, forgettable.

It’s incredibly repetitive watching Noah and Joanne have to learn to meet in the middle over every disagreement, especially when every disparity is treated as if it is the end of the world. While I was rooting for the two in Season One, this season made me wonder if they are even compatible at all.

With how the main couple struggles, the supporting cast acts as the acme of the show. Joanne’s out-of-pocket sister, Morgan (Justine Lupe), keeps Joanne grounded and spreads honesty to the whole cast of characters. Noah’s loving, goofball brother, Sasha (Timothy Simons), brings playful energy and thoughtfulness to the show, and his wife, Esther (Jackie Tohn), levels Sasha’s incessant energy. 

A bright spot in the cast is Tova Feldshuh, who plays Noah’s commanding and hard-to-please mother, Bina. Bina’s ceaseless confidence and sass already make her bound to be a hilarious character, but it’s Feldshuh’s presence on the screen is ultimately makes her so memorable.

Unfortunately, the character of Bina was severely underutilized in Season Two, being in half as many episodes as Season One, and the repetitious plot clearly misses her constant attitude-filled candor. 

As a whole, the ensemble balances out the self-inflicted seriousness that Noah and Joanne apply to every issue. They’re often foolish and absurd, but it’s a welcome reprieve from the main couple’s never-ending cycle of misalignment in ideals.

This season also struggles with distractions, specifically a consistent misuse of songs. The soundtrack is an all-over mess with no clear direction. One can’t help but wonder if the soundtrack was pulled straight from Spotify’s “Today’s Top Hits” playlist and then randomly dropped into scenes of the show. Sabrina Carpenter’s upbeat, man-hating anthem “Manchild” is played during a completely ordinary shopping scene, and Charli XCX’s dance club beat “Apple” is played while the characters play a casual get-to-know-you card game.

No matter what is happening in the scene, the chosen song rarely reflects the correct atmosphere and events occurring. It’s hard to stay focused on the story when a seemingly random song is overpowering the dialogue.

Despite its glaring issues, Season Two is undeniably funny. The writers find ways to take simple situations for the characters and twist them into these over-the-top situations. The episodes are roughly 25 minutes, and the show has perfected how to build a comedic arc in less than half an hour.

Nevertheless, Season Two is mostly a letdown. It was made to appease the general audience by mostly sticking to what worked in season one and taking no new risks. It is the fear of polarizing any viewers that keeps the show from being great, and instead makes it monotonous. 

While I don’t regret my watch, I can’t say I am all that excited for Season Three. If you’re searching for a show that is certain to make you laugh, Nobody Wants This is for you. But if you’re looking for a nuanced and enriching story, you might want to skip this one.