The wilderness, according to Lottie, has picked Natalie to lead them. “We tried to kill you, and it wouldn’t let us,” Lottie says. She kisses Nat’s hand, and the others follow suit. Something almost holy passes over Natalie’s face as she accepts these tributes. Tears fall down her cheeks, and she smiles. There is a sense of relief. We hear a twinkly cover of Echo & the Bunnymen’s “The Killing Moon,” a track about fate.
The only survivor of that initial plane crash who remains outside of this ritual is Coach Ben, whom Natalie told to flee to Javi’s hiding place, away from the rest. Ben watches Natalie’s ascension as he sneaks around outside to gather supplies. He looks betrayed by how she welcomes the others’ devotion. He thought she was not susceptible to the mania. Instead, she is now the queen of it.
Is this what drives Ben to set the cabin on fire? He is never confirmed to be the perpetrator, but he is the only likely suspect. The teens will head into the third season without shelter, and Natalie, who knows about Javi’s den, is in control. Ben’s action may have just led to his own undoing. Instead of being safe, he now has a target on his back.
In all the timelines, the showrunners Ashley Lyle, Bart Nickerson and Jonathan Lisco are resetting the narrative. Thanks to the schemes of Walter, Shauna apparently doesn’t have to worry about Adam Martin anymore. Lottie is being shipped away to another mental institution. Misty’s confidence is shattered now that she is responsible for the death of her “best friend.” Who knows what will become of Tai and Van, reunited and unmoored?
Lottie seems to think that Natalie’s death, blamed on a drug overdose, means “it” has gotten what it wants. “It is pleased with us,” she says. “You’ll see.” And yet I can’t imagine that killing Natalie has solved all of these women’s problems. That’s too easy, and the scenario is too sad.
The second season of “Yellowjackets” has been an uneven one — not unusual for a breakout series trying to find its footing after a sensational first go around. But there were frequent moments of transcendence. The farewell to adult Natalie was one of those instances. It was tragic and somehow cathartic and will be hard to shake as the show moves forward.
More to chew on
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In the beat just before the fire breaks out, we see Shauna writing in her diary, complaining that Natalie was chosen and not her. She, more than even Nat, was offended by Lottie’s mysticism. Why does she want this?
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Although the use of “Zombie” by the Cranberries was a little obvious, the rest of the music cues were on point. I’ve already mentioned the Radiohead and Echo & the Bunnymen drops, but I would be remiss not to highlight the eerie use of “God Is Alive Magic Is Afoot” by Buffy Sainte-Marie.
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My big hope for Season 3 is that Adult Van gets some more material. Her presence felt largely like a waste of Lauren Ambrose’s prodigious talents.
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Very interested to see what becomes of guilty Misty. (I do want Walter, a deranged delight, to stick around.)