Peacemaker’s return to the small screen feels like that friend who shows up late to the party but somehow makes it better anyway. The sophomore season of James Gunn’s most unhinged DCU creation stumbles, struts, and occasionally soars — though not quite reaching the delirious heights of its freshman outing.
Let’s cut to the chase: John Cena remains the beating heart of this bizarre circus. His Christopher Smith now faces down that most tempting of narrative devices — the multiverse — complete with the dangling carrot of a perfect life in another dimension. (Because who hasn’t dreamed of a do-over universe where they didn’t accidentally kill their favorite superhero?)
The show’s opening salvos present a Smith who’s frustratingly sidelined despite literally saving Earth from a butterfly apocalypse. It’s here where Cena truly shines, bringing unexpected depth to a character who could’ve easily remained a musclebound punchline. There’s something oddly touching about watching this chrome-domed violence enthusiast struggle with his place in a world that’s moved on to the next crisis — probably something involving multiversal incursions or whatever the hot apocalypse du jour happens to be in 2025.
Jennifer Holland’s Emilia Harcourt treads familiar ground, though her spiral into self-destruction hits harder than expected. Sure, the whole “tough-exterior-hiding-inner-pain” thing might feel a tad been-there-done-that, but Holland sells it with conviction. That boat-night mystery subplot? Well… let’s just say some narrative threads work better than others.
Frank Grillo brings his trademark intensity to Rick Flag Sr., though keeping him chained to a desk feels like ordering a Ferrari and leaving it in park. The brewing confrontation over his son’s death simmers nicely in the background — a powder keg waiting for its spark.
Speaking of sparks, the show’s signature blend of ultraviolence and humor remains intact, though certain recurring gags wear thin faster than Peacemaker’s patience. Judomaster’s height-related humor? Getting old. Those gratuitous orgy scenes? Maybe time to zip it up. But then Tim Meadows swoops in as Langston Fleury, bringing fresh laughs with his peculiar avian blindness. Who knew bird-related comedy could still soar in 2025?
The multiverse angle takes its sweet time finding its groove — rather like watching a peacock slowly unfurl its feathers while you’re checking your watch. Yet there’s an undeniable charm to this mess of a show that keeps viewers coming back. The new opening credits sequence, set to Foxy Shazam’s “Oh Lord,” proves the franchise hasn’t lost its knack for memorable intros. And yes, Eagly’s quest for a “prime eagle” somehow becomes one of the season’s most engaging subplots. Go figure.
Look — in an era where superhero fatigue has become more common than post-credit scenes, Peacemaker’s second outing reminds us why we fell for these spandex-clad weirdos in the first place. It’s messy, occasionally loses its way, but remains stubbornly entertaining — kind of like watching a peace-loving sociopath try to navigate group therapy. While it might not be the triumphant return some hoped for, it’s a solid addition to Gunn’s expanding DCU vision.
Just don’t expect it to solve world peace. That’s not really Peacemaker’s style anyway.
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