1670 Season 2 Review 2025 Tv Show Series Cast Crew Online
“1670” Season 2 (released 17 September 2025 on Netflix) attempts to build upon the off‑beat satire and mockumentary style of its first season, but while it succeeds in some areas, it trips over others in ways that make it a mixed bag overall.
Set once again in the fictitious noble estate village of Adamczycha in the Polish‑Lithuanian Commonwealth circa 1670, the season sticks with its irreverent tone as nobleman Jan Paweł Adamczewski strives for prestige, battles rivals, and attempts increasingly absurd feats to assert his dominance over his domain. The mockumentary framing—complete with anachronistic dialogue, breaking of the fourth wall, and modern sensibilities grafted onto historical settings—continues to be the show’s distinguishing feature. It remains clever in its design and ambition.
One of the strong points of Season 2 is character work, particularly with Jan Pawel’s daughter Aniela. Her arc—torn between family duty, her own ideals, and a budding relationship with Maciej—brings a touch of emotional grounding that the purely comedic parts can’t always supply.Similarly, the show’s set pieces—period‑costumes, the rustic scenery, the attention to detail in the production design—remain very impressive. The contrast between the pompous noble court manners and the rough‑around‑the‑edges peasant life (and peasant perspectives) is often visually engaging and provides a lot of the humor.
However, the season is not without its flaws. A recurring criticism is that the show leans too heavily into broad, sometimes sloppy humor, relying on absurdity almost as a crutch rather than integrating it with deeper satire or tighter narrative payoff. Some reviewers feel that the comedic momentum from the first season is present, but diluted by filler episodes or gags that overstay their welcome. Jan Pawel, as central as he is, sometimes becomes an exhausting figure: his grand schemes and ego are funny initially, but in Season 2 many of his antics feel repetitive or predictable.
Another issue is pacing. With eight episodes, the show has more room to explore subplots—like family rivalries, social injustice, and even supernatural touches—but that sometimes works against it. Some threads feel underdeveloped, or resolved in ways that seem convenient rather than earned. For example, the ending involves revelations of forged documents, betrayals among family, and even a demonic possession angle with Bogdan. While these twists can be entertaining, they also risk undermining the internal logic that the show has built.
In terms of thematic ambition, “1670” continues to critique class, power, tradition, and hypocrisy—both in its historical setting and through its anachronisms, which serve as a mirror for modern issues. Aniela’s struggles—between idealism and obligation—are among the more rewarding aspects of the season, as are the moments when the peasants are given more voice or dignity rather than merely serving as comedic foil. But there are moments when satire becomes vague, when the show seems unsure whether to lean hard into farce or pull back for commentary. When it leans hard, it can lose nuance. When it pulls back, the pacing suffers.
Another point to note is that the show does not really broaden its scope much beyond what it did in Season 1. While new locations, moral dilemmas, and characters are introduced, many of the situations feel like extensions of what we’ve already seen: Jan wanting prestige, family conflict, undermined authority, etc. That can be comforting, but also risks a sense of staleness. Some viewers will appreciate the familiar rhythms; others might want more structural innovation.
On the humor front, the reception is split. For many, the anachronistic jokes (“modern” speech, references, etc.) are a highlight—humor that arises from juxtaposing 17th‑century trappings with 21st‑century absurdity.But for others, the show’s comedic reach is overshot: too many jokes don’t land, especially when they rely heavily on slapstick, parody, or revolting into chaos. Some critics argue that the show would benefit if it trusted its more modest, quieter moments, rather than always escalating to spectacle.
Visually and technically, the show remains strong. The locations, set design (in some historic castles and rural Polish villages), costume detail, and the way the series uses its mockumentary setup are all highlights. Even when the plot gets a little far‑fetched, the craftsmanship helps keep viewers invested.
By the end of the season, the finale wraps up many arcs: the Harvest Festival, family betrayals, revelation of forged documents, even supernatural elements. Aniela makes choices between love and duty, and there’s a recognition among characters that identity, legacy, and authenticity matter—but so do pragmatism and survival. Some plot threads are left dangling (likely intentionally, setting up Season 3), such as what exactly becomes of Bogdan, the demonic/interfering supernatural implications, and how Jan Paweł can now govern in the wake of betrayals.
Overall, “1670” Season 2 is worth watching if you liked the first season, or if you enjoy satirical, absurd historical comedies that don’t take themselves too seriously. Its strengths are its comedic moments (especially when they intersect with character vulnerability), its visual style, and its willingness to push boundaries. Its weaknesses lie in uneven pacing, occasional over‑indulgence in absurdity without payoff, and moments of repetitiveness. For some, those will be forgivable; for others, they might be enough to diminish the experience.
In sum, Season 2 of 1670 does a commendable job of deepening what the show set up in Season 1—though not always gracefully. It doesn’t always improve on its predecessor, but it manages to remain entertaining, ambitious, and occasionally sharp in its satire. If Netflix moves forward with Season 3, there’s a lot of potential—especially if the show can balance its more outrageous impulses with tighter storytelling and more emotional depth.
