Munoz: ‘You’ writers need to stop



The beloved stalker Netflix series “You” has returned for a fourth season sans the thrill the previous seasons contained.

Helena Munoz, Staff Writer

Season four, part one of Netflix’s romantic crime thriller “You” turned out to be another predictable murder-mystery show.

The show’s primary selling point of being inside main character Joe’s head, complete with his ingenious narration, is now the show’s repetitive downfall. “You” writers need to stop releasing more and more seasons before the show becomes another boring and overhyped show like “Grey’s Anatomy.”

“You” has always followed a formula similar to “Dexter,” with Joe using creepy monologues to give viewers a glimpse and an understanding of why he committed horrible crimes. But what made this show different and exciting was having Joe fall in love with a girl and then protect her from the real bad guys by killing everyone around her.

Past seasons followed Joe’s journey on his search for true love despite his relationships all ending with him murdering the girl, hence his iconic line “This time it will be different.” This season, however, just feels like leftover ideas and overused tropes a criminal solves a mystery to catch the even worse criminal. 

Up to this point, each “You” season was set in a different city with different characters. Season one was set in New York, and seasons two and three take place in Southern California. Each previous season gave us a new perspective on the people Joe would meet, often exposing the complexities within the levels of wealth and privilege surrounding Joe.

Season four acts similarly, as it dives into the world of the English elites. New characters are extremely rich nepotism babies and internet influencers; they lack so much depth that they are completely unrealistic characters.

While I get the whole structure of the show is Joe being surrounded by unlikeable characters to make him more likable, this season’s characters take so much screen time to the point where they just become annoying and unlikeable to an intolerable degree. 

In this season, a mysterious killer is blackmailing Joe through anonymous messages. The whole plot just felt like an episode from another “Pretty Little Liars” reboot. There are other weak points and moments, including the unrealistic idea that none of the characters in the show own a pair of curtains or realize Joe is following them.

Part one of season four was such a disappointment, but there’s still time to salvage it. Part two needs to have unpredictable and spine-chilling twists to make up for part one’s staleness. The writers need to go full-on crazy and stick to their guns of creepiness.