The second season of «Undone» is based on the idea of intergenerational trauma. Instead of figuring out if Jacob’s theories about alternate timelines were real or the product of his mother’s schizophrenia, viewers get a glimpse into the secrets of Alma’s mother Camila (Constance Marie). Just as Jacob’s secrets affected Alma’s life, Camila’s secrets are just as important, reverberating across space and time. Undone continues to approach the concept of trauma as a hereditary trait with care and precision.
From a technical standpoint, the show is still an absolute marvel. Despite the occasional dip into uncanny valley territory, the vast majority of Submarine Amsterdam’s rotoscoping animations continue to impress. This success is partly due to the team making minor changes to the animation process that further blur the lines between animation and live action. Character movements, including facial expressions, are smoother in the second season, more closely imitating the actors being circled by the animators. Not only that, the characters also change their clothes more often, although Alma still mostly wears her standard navy top and jeans. These are by no means drastic changes. However, they are still highly valued for improvements that help visualize how intertwined Alma’s reality is with other realities.
Even outside of rotoscoping, Submarine’s animation is visually appealing. This new season continues to dive into the idea of tapping into characters’ memories through something known only as the Mist. This time, these cases are accompanied by stunning transitions between the present and the past, which merge into each other as the season progresses. In particular, the sixth episode, titled «The Fix», is perhaps the most detailed and complex design the show has ever produced with astounding success. Undone is still unlike any other show currently airing on a purely visual level, be it animation or live action.