The Owl House is a typical modern cartoon. It’s dumb and predicatble, but I like it just about as much as the next guy. Unlike a certain isekai show about frogs, this season has been quite the thing. After this is, apparently, a trilogy of two-parters to close off the show. But in the meantime, let’s talk about what happened.
So, family is a thing sometimes. It’s perfectly normal for sisters to cast curses on each other that sap their magic and turn them into monsters, just as Lilith did to Eda. Since it’s a Disney show, no one died, but Lilith now shares a bit of Eda’s curse. Also, Emperor Belos has a suitcase portal of his own for some reason, and we gotta figure out a way to stop him in the only way we know how…
…By solving self-contained conflicts that slowly build into the overarching plot! This season is where The Owl House starts in earnest. Luz tries to find her way home, we learn more about what’s going on in the Emperor’s Coven, and there’s even a sneak preview of what’s going on back on earth with Luz’s mom. A lot of crazy stuff happens this time around.
To be honest, this is a very character-driven season; most of the plot pertains to character development, for faces both new and old. Might as well start with the driving force of the entire series: Luz and Amity. If the basic signs weren’t present enough in season one, their inevitable romantic partnership is telegraphed so ham-fistedly that it initially comes off as self-aware cringe. Most of their scenes just had Love Handel’s “Don’t just stand there, kiss her!” in my head over and over again. Fortunately, they don’t tease it for as long as 90% of other romances do. Their relationship feels believable, like how they blush every time they hold hands or compliment each other. Plus, it has some legitimate bumps in the road; no ship is built perfectly.
The other residents of the titular Owl House get development as well, including (most importantly), our pal Hooty. I won’t spoil the greatness of his character arc; just see it for yourself (also, poor Hooty…). Eda learns, in the most cliché ways possible, to cope with her literal inner demons. And King, well, we finally learn the truth about him. In addition, Lilith gets her inevitable redemption arc. She learns to be a better person (which is pretty easy for her since she cursed her own sister once upon a time), and she shows emotions other than anger this time around.
But man, R.I.P. Gus and Willow. Gus gets some good character development in a couple episodes, but he’s still pretty much a third wheel. Willow hardly does anything. All of the eggs are in Amity’s basket. Her relationship with Luz pushes her to finally be the girl she always wanted to be. Classic tsundere. A nice touch is when she gets her hair dyed, and the opening sequence is changed to match.
Meanwhile, in the Emperor’s Coven, we learn some more about Belos, as well as his right-hand-man, the Golden Guard, a.k.a. Hunter. He’s one of those morally ambiguous antagonists who’s all edgy and brooding and stuff. Belos continues to be a knockoff Hollow Knight boss. Eda also has an ex named Raine Whispers. They used to be part of a rebel group, but now they’re in the Emperor’s Coven instead? Regardless, I didn’t particularly care for their arc because it’s a pretty uninspired instance of the “used to be good but now bad because reasons” trope.
Sadly, The Owl House is still quite predictable. I saw quite a few plot twists coming, including one of the really big ones that’s meant to absolutely blow your mind. Also, despite how it tries to be a horror show, it won’t seem like much compared to the crap Cartoon Network lets on its airwaves (especially back in the day).
The Owl House has surely established some sort of identity in the sea of childrens’ cartoons (which is hard to do these days when it’s not the 1990s). It’s not groundbreaking, but it’s good. Hopefully it’ll stick the landing!