Comedies about womanhood are rarely just comedies. They’re multitaskers, shows that combine humor with high stakes like Hacks and The Marvelous Mrs. Maisel or sad-coms concerned with capturing a distinct vibe like Fleabag, Better Things, and Insecure. That’s why Dollface feels so cozy by comparison. In a TV environment in which shows about femininity are always asked to do more, Jordan Weiss’ comedy simply wants to make the pressure of being a woman — specifically a white, straight, cis woman — funny. That desire has birthed a Season 2 that feels as warm and effortlessly chic as Dollface‘s always on-point design aesthetic.
In its first season, Dollface was a show that fell a bit short of its excellent premise. It was always fun to watch Jules (Kat Dennings) fumble through ridiculous scenarios like brunch at church and game shows that asked if she should cancel her plans. But there was always a bit of a disconnect to these bits. It’s hard to build a world around a character who has no drive, and it took Jules a while to find hers. There were other hiccups. The dynamics of the central friend group were complicated, and the show itself seemed to struggle finding a balance between its mix of optimism and cynicism. But now that Jules has found herself in her friends, everything has changed.
In Season 2, Dollface has completely given up its will-they, won’t-they dance between Jules, Madison (Brenda Song), Stella (Shay Mitchell), and Izzy (Esther Povitsky). They are now a squad, and in nearly every episode it’s ride or die. It’s that solid foundation that has allowed Dollface to grow and truly challenge its characters in new and funny ways. This season, the type-A Madison struggles with her career and has to learn that obsessively planning every moment of your life may not be the best approach. The party-going Stella finds stability in a new relationship and a new job, and she cannot handle it. And Izzy, the woman so submissive that she lied about her name for months, finds herself the center of her own story. These stories let Song, Mitchell, and Povitsky show off their comedic chops, playing in this ridiculous world that was once exclusively reserved for Jules. Madison’s arc is especially strong, owing to Song’s ability to infuse even the most insane situation with a degree of true pathos.
And then there’s Jules. Much like in Season 1, Jules spends a lot of time floating in this bizarre, half-imagined world. She has a blank Tarot card and a vision board covered in doodles of penises. But episode by episode, that apathy starts to fade away. What Jennings gives us instead is a quiet study in bravery. Slowly, this young woman becomes brave enough to ask herself what she wants out of life and truly goes for it. By her transformation’s end, it’s a story that feels as gratifying as it is inspiring.
But there’s more to this season than character growth and endless jokes. Cushioned between these two are plots you never see on television. That’s truly what makes this show special. In one episode, two women who were cheated on by the same man have a frank conversation about what happened. They don’t blame one another or start screaming. Instead, they find a sister in their pain. Stella’s relationship forces her to ask if she’s really ready to have a kid in her life. It’s a hard and complicated conversation that stretches across several episodes and never reaches a satisfying conclusion. Then, by the series end, Dollface gives viewers one of the coolest experiences of all: watching someone find their passion. This season is littered with little moments like these, honest parts of everyday life that only feel profound because we never see them portrayed.
Dollface is never going to be a show that revolutionizes comedy. It’s never wanted to do that. Instead, what Dollface can offer you is a warm smile, a gorgeous blush throw, and an overpriced cocktail as it reassures you that it’s OK. Being a woman is insanely hard for reasons that feel impossible to explain. But just like Jules and her friends, if we confront these endless frustrations together, we can make it through alive.
