Looking back at the “Gifted” TV show, it’s hard to ignore the stark contrast between its two seasons. Season one, despite some imperfections, delivered a compelling narrative that resonated with viewers. It successfully established a world on the brink, drawing a clear parallel to 1930s Germany where the government was dangerously close to open genocide against mutants. This strong metaphorical foundation was a key element that made the first season so engaging.
However, season two took a significant downturn. The writing quality noticeably declined, and several attempts to introduce new character dynamics fell flat. The struggles of the Stucker family, for instance, felt forced and unconvincing. Beyond just character issues, the show seemed to drastically narrow its scope, shifting its focus towards a teen demographic rather than maintaining the broader 18-49 audience it initially attracted. This change in target audience was evident in the ratings, which suffered considerably in the second season.
Perhaps one of the most detrimental changes was the treatment of Lorna Dane, also known as Polaris. A standout character in season one, Lorna was inexplicably altered in season two. The writers seemed intent on dismantling her established personality and replacing it with something far less interesting and frankly, poorly conceived. This mishandling of a fan-favorite character was a major misstep.
Adding to these issues, the entire thematic analogy underpinning the show was inexplicably switched. Season one’s powerful 1930s Germany parallel, with its imminent threat of mutant genocide, was abandoned. In its place, season two awkwardly adopted a 1960s American Civil Rights era metaphor. This shift completely undermined the established world and the stakes that had been so carefully built in the first season.
In season one, the Mutant Underground’s stance was clear: mutant separatism. This was a widely accepted viewpoint within the group, driving their actions to help mutants escape persecution and resist government oppression. Even attacks to liberate captured mutants were seen as justifiable, with disagreements mainly revolving around timing and tactics.
But with the season two metaphor shift to a 1960s America context, mutant separatism was suddenly rebranded as a villainous ideology, embraced by characters like the Morlocks, Esme, and even Lorna. The Mutant Underground, once defined by their separatist ideals, now inexplicably championed integration, adopting a more righteous, almost hypocritical stance. Even freeing mutants from detention, a core principle in season one, became something only antagonists like Lorna and Esme would support – at least until Lorna’s character was further derailed by an inexplicable emotional breakdown.
Ultimately, this thematic and narrative overhaul did a disservice to the “Gifted” TV show. The writers should have committed to a consistent metaphorical framework. Whether it was the chilling “Days of Future Past” adjacent scenario or a Civil Rights allegory, choosing one and developing it consistently would have been far more effective than the jarring and ultimately detrimental switch between seasons. This inconsistency is a significant reason why season two failed to capture the magic of its predecessor.
