Romantic comedies thrive on clean, irresistible setups — a bookseller and a movie star, two friends terrified of falling in love, a chance radio confession that changes lives. Nobody Wants This earned its place among them with a premise that felt instantly sharp: a gentile sex podcast host falls for a rabbi. Season one was bright, cheeky, and full of chemistry. Season two arrives with the unenviable task of proving that a romcom can survive its own happy ending.
Joanne (Kristen Bell) and Noah (Adam Brody) are now together, trying to figure out what “happily ever after” looks like in real life. Joanne calls it a healthy relationship with a grown man; Noah calls it a leap of faith. Both are right, and both are uneasy. The season picks up after Noah sacrifices a prestigious rabbi post for love, only to find that love comes with its own trials. Questions hover between them — about faith, compromise, and identity. Is Joanne willing to convert? Can Noah reconcile his calling with the chaos of modern romance?
Bell and Brody still dazzle. Their rhythm feels lived-in yet alive, the dialogue fizzing with the kind of dry humour that made the first season sing. But that same comfort also dulls the edges. The thrill of discovery is gone. We already know this couple can set off sparks; now we watch them learn how not to burn each other out.
Around them, the ensemble expands. Joanne’s sister Morgan (Justine Lupe) and Noah’s brother Sasha (Timothy Simons) get more screen time, though the results are uneven. Esther (Jackie Tohn), once the show’s sharp-tongued delight, feels softened, almost domesticated. Morgan’s new romance with Dr Andy (Arian Moayed) lands awkwardly, a subplot that strains the show’s tone. The supporting chaos that once gave the series bite now feels more like clutter.
Still, creator Erin Foster’s writing stays crisp and knowing. She seizes the small absurdities of adult love — the arguments over theology and family, the pride that camouflages insecurity. The pacing hums with warmth, and the soundtrack’s playful pop gives everything a nostalgic shine. There’s something undeniably comforting about watching two flawed, funny people try to make sense of their own story.
Nobody Wants This may not fully justify its second season, but it doesn’t squander its charm either. It’s a witty, well-acted reminder that love stories don’t end with a kiss; they just get more complicated. The show still sparkles — it just glows a little quieter now.
