'Unbreakable Kimmy Schmidt' returns with big laughs, mixed messages

TV’s favorite post-traumatic optimist returned to the small screen on April 15 with the release of the second season of “Unbreakable Kimmy Schmidt” (2015 – present) on Netflix. The much-anticipated 13-episode season was developed exclusively for Netflix and thus boasts episodes with longer runtimes and more freedom for exploration than those of the first season, which was originally produced to run on NBC. With this freedom has come more hard writers’ jokes that may have otherwise alienated general audiences, making the sitcom’s second season feel more like “30 Rock” (2006 - 2013), Tina Fey and Robert Carlock’s original critically-acclaimed NBC sitcom.

Between rapid-fire one-liners, pop culture references and running gags, the latest from “Kimmy Schmidt” also begins to dig deeper into its characters’ anxieties and attempted social commentary on everything from backlash culture to gentrification. While these poignant character explorations bring many of the season’s best scenes, some of the “real world” issue-tackling falls flat, feeling more like the show is defending itself against criticism than taking genuine interest in its sources. Luckily, these moments are few and far between enough as to not entirely overshadow the wit and feel-good weirdness of the rest of the season.

In her signature pink-and-yellow kindergarten teacher ensembles, Kimmy (Ellie Kemper) is back in New York City after vanquishing her former captor Reverend Richard Wayne Gary Wayne (Jon Hamm) in an Indiana court battle in the season one finale. The 30-year-old perennial optimist, who was held for 15 years along with three other women in a doomsday cult by Reverend Gary Wayne, has seemingly recovered from the initial shock of her freedom explored in the first season and is ready to take big steps towards the future she’s always wanted.

At the outset of season two, Kimmy’s socialite friend and employer Jacqueline (Jane Krakowski of “30 Rock”) has returned to South Dakota to reconnect with her parents after her divorce, her Vietnamese immigrant ex-boyfriend Dong (Ki Hong Lee) has married one of their GED classmates to avoid deportation and her struggling actor roommate Titus Andromedon (Tituss Burgess) is being confronted by a visit from his estranged ex-wife, Vonda (Vernell Walker). Oh, and — in the best running gag of the season — Kimmy’s landlady Lillian (Carol Kane) is dating acquitted murderer Robert Durst, or “Bobby” as Lillian calls him, played with eerily accurate mannerisms by a bewigged Fred Armisen. (“He was my first crush. He tried to crush me,” Lilian deadpans in the season premiere.)

“Kimmy Schmidt” has learned how to handle these dark topics quite deftly, using its lead character’s positivity, goofiness and general ignorance about adult life and the 21st century to lend its comedy a sort of wide-eyed optimism. And season two, best watched alone with headphones, is a nonstop joke machine and an encyclopedic knowledge of pop culture. Multiple viewings are also necessary to catch as many one-liners and cameo appearances as possible. Of course, this kind of comedy isn’t to everyone’s taste, but fans of the series' first season and “30 Rock” will find plenty to enjoy. Niche jokes about BJ Novak book readings and musical theater history are peppered in between“Mad Men” (2007 – 2015) references (“The reverend was a psycho liar who claimed he came up with the 'Buy the World a Coke' commercial!”) and obligatory New Yorker shots at New Jersey (“If I can see New Jersey, than it can see me!”) The jokes come at breakneck speed, revealing the show to be a writers’ sitcom elevated by wonderful, laugh-out-loud performances from leads like Kemper and Burgess.

Burgess’ Titus remains the funniest, most delightful character on “Kimmy Schmidt.” Although flamboyant and full of quirks, Titus never feels like the stereotype of a black, gay actor — he’s a fully actualized individual, with a past and a future justified by his anxieties and dreams. In season two, Titus begins a new relationship with an almost-out gay construction worker Mikey (Mike Carlsen), and the storyline is both funny and emotional while pointing to real character growth.

With this is mind, it comes as a jarring surprise to see Titus used as a vehicle for the show’s defensiveness against criticisms of racial insensitivity in the first season. In this season’s third episode “Kimmy Goes to a Play!” Titus dons a costume and stages a one-man show ("Kimono You Didn't") about his past life as a Japanese geisha. His character is then beset by criticism from an online community of Asian-Americans who find his portrayal offensive — but who, after watching his emotional performance, come to the conclusion that they were only offended for the sake of being offended. The plotline appears to be a big eff-you from creator Tina Fey to the critical backlash that the first season received for its casting of a white woman (Jane Krakowski) as a Native American character who is then choosing to pass as a white woman. By positing genuine criticisms and accusations of racism as nothing but internet hate generated by the outrage machine, “Kimmy Schmidt” blatantly dismisses its audience's concerns and completely misses the point of the outcry.

The show’s confusingly adversarial position on race is an unfortunate mark on its second season, as it was on its first, and is not something to be overlooked. That being said, “Kimmy Schmidt” doesn’t linger on these weak spots and regularly works to redeem itself through goofy comedy and the emotional developments of its characters. When Kimmy finally learns to tie her Taylor Swift-red Keds at the age of 30 in the season finale, amidst larger emotional accomplishments, she demonstrates the silly, new-perspective optimism that makes the show a unique and ultimately successful one.