Season Review: Krapopolis Season Two

After a debut season that generated a lot of buzz (and a fair bit of head-scratching), the pressure’s on for this ancient Greek animated romp to solidify its place in the increasingly crowded adult animation arena.

Season 1, if we’re being honest, was a mixed bag. The pedigree is undeniable – Dan Harmon at the helm, a fantastic voice cast including Richard Ayoade, Matt Berry, Hannah Waddingham, and Pam Murphy. The premise, a dysfunctional family of gods, humans, and monsters trying to build civilization, had boundless potential. And visually, the show is distinct. Fox’s animation house, Bento Box, delivered a vibrant, clean style that, while not groundbreaking, certainly holds its own. The character designs are unique, and the world-building is visually interesting, if a bit sparse in its actual comedic impact at times.

The challenge in Season 1, and what I thought was an improvement in Season 2, is whether Krapopolis can truly find its comedic voice. Harmon’s previous work, from the meta-brilliance of Community to the nihilistic sci-fi genius of Rick and Morty, thrives on sharp dialogue, intricate plotting, and characters who, despite their flaws, feel profoundly real. Krapopolis has glimpses of that, particularly in the divine squabbles between Deliria (Waddingham) and Tyrannis (Ayoade), or the delightful idiocy of Shlub (Berry). But sometimes, the humor felt a little too broad, a little too safe, for a show with such a bold premise and a creator known for pushing boundaries. Season two’s change in showrunner saw Krapopolis dig deeper into the personalities for each of the characters that has helped the series stay afloat in the ratings ultimately leading to a multiple season renewal.

What I’m hoping to see more of in Season 3 is a deeper dive into the characters’ neuroses and motivations, something Harmon shows excel at. The first season occasionally felt like it was telling us about the chaos of ancient Greece and the family’s dysfunction, rather than letting us truly feel it through their actions and reactions. Season two led by Alex Rubens leaned into the absurdity of the Olympian pantheon, the inherent anachronisms, and the very human flaws of its god-like characters with more consistent wit and sharper satire.

The voice cast is, and always has been, a major strength. Ayoade’s dry delivery, Berry’s bombastic pronouncements, and Waddingham’s regal exasperation are perfectly suited to their roles. Their chemistry is evident, and giving them more complex, emotionally resonant (even if comically so) material to work with could unlock even greater comedic potential in the show’s third season.

Ultimately, Krapopolis Season 2 has shed the “new show trying to find its way” feel of its predecessor. The foundation is there: a strong concept, solid animation, and an A-list voice ensemble. The question is whether the writing can tighten up, become more consistently hilarious, and deliver the kind of incisive, character-driven comedy that Dan Harmon’s fans have come to expect. If it can tap into that specific brand of genius, Krapopolis could ascend from merely “interesting” to truly divine in the adult animation pantheon.