User Reviews

No words. This was just perfect. This episode really demonstrates how much love the filmmakers have towards movies!

The style and writing are recreated perfectly (I know many TikTokers have been doing it lately, but it's still impressive) making this one of the most visually interesting episodes. We all new Wes Anderson was a genera itself, but this takes it to another level.

This weeks story actually shade some new light and I think it properly advanced the plot forward.

To sum it up, a great looking episode in every single way, with some of the best writing and acting so far.

Keep them coming!!

This episode explores Sebastian's scheming and Grace's love affair, despite Hannah's revelatory accounts. Travis' investigation is amusing, but some good comes out of it. The Wes Anderson aesthetic was chosen for Hannah's story, blending its strengths and disillusionment with Hannah's unique perspective. The episode effectively combines Anderson's work with Hannah's unique perspective, making it a more engaging and engaging viewing experience. In episode 4 of The Afterparty season 2, Zoe, Aniq, and Danner visit Hannah's humble abode to question her marriage. Hannah narrates her accounts in the style of Wes Anderson, describing her unique personality and eclectic hobbies. She was an adopted child with close friends Edgar and Sebastian, who grew up together. As they grew older, they favored their businesses over spending time with Hannah. On her birthday, she met Grace, who was worried about her biggest life decision. They spent time together, and Grace was indecisive about her life decision. As they sat together, Grace and Hannah kissed, starting a sordid love affair that no one else knew. The tables have now turned, and Hannah and Grace's lives are a mystery. Zoe is shocked by the motives behind Edgar's murder, leaving her to talk with Grace alone. The affair continued until the wedding, and both felt guilty and restrained. Grace broke it off, and Hannah entered a state of mourning. She found solace in Isabel's words and suggested "get over it." Hannah decided to stop the wedding by starting a chain of rumors about Aniq doing drugs to distract others. However, the bride-to-be disagreed with her feelings and deserted Hannah, despite her righteous words. Hannah flirts with Travis to make Grace jealous, and Ulysses' reassuring words inspire her to stop the wedding. They plan to object to the wedding, where Aniq will place Edgar under citizen's arrest, allowing Hannah and Grace to finally be together. Hannah recalls the moment she knew her brother loved Grace during the vows and goes on a solo trip to recover and heal. She gifts Edgar the "g" key during the afterparty. Hannah's version is all "just motive," and she does not refute her involvement, indicating she is not the killer. Sebastian visits her yurt and expresses grief over losing his business partner. Aniq realizes that the names on Edgar's tables were likely replacement candidates, indicating that she is not the killer.

In the vast theater of art and performance, where the brilliant and the mediocre often cross paths, 'The Afterparty's' episode titled 'Hannah' dares to stride with audacity. Yet, instead of a refreshing promenade, one is involuntarily ushered down the well-trodden corridors of Wes Anderson's genius. To mimic the maestro is one thing; to make a pastiche so glaringly reminiscent, quite another. It is as if one beholds a peacock, expecting it to unveil a dance of original colours, only to find borrowed feathers from another's plume. I dare say, flattery is a delicate art, but there are venues and verses where it might not befit. Had Mr. Anderson himself been entrusted with the task of orchestrating this episode, we would have been regaled with the authentic notes of his symphony. Alas, we are left with but a distant echo, a reminder of what could have been.

This episode was frustrating from start to finish. It's clear the director wanted to copy Wes Anderson as much as possible but instead of flattering it is just, well, bad.

The colour palette is the same as every other episode which is decidedly not W. Anderson-esq. It's a missed opportunity as other episodes have been filmed in different styles (previous episode was black and white and noir, and Zoë's episode in season 1 was animated etc...)

The framing isn't as consistent as the director thinks it was, the dialogue was pretentious and the acting just didn't work. It's almost as though Anderson's style isn't as easy as people suggest it is to imitate.

The pace being too quick was very jarring - it contradicted the entire point of the 'homage.'

I don't get why these directors would rather try to blatantly copy auteurs and their other vastly more successful peers rather than trying to put their own mark on their own work.

I do appreciate the style being in Hannah's head (as is consistent with the rest of the series) but the execution felt like an extended TikTok more than a high-budget TV show.

By far my least favourite episode for the reasons above. In terms of developing the story, however, it's consistent with the rest of the series in that it maintains the wacky, kitch irreverent soul that makes The Afterparty an incredibly easy TV show to watch.