Two years ago, following a vast array of attempts at a hit small screen vehicle for uber-talented “SNL” veteran Maya Rudolph, Apple TV+’s “Loot” hit the sitcom world, entering on new divorcée Molly Wells (Rudolph) trying to navigate and decide what to do with an enormous $87 billion settlement. Eventually, she settles on re-engaging with her charitable foundation, reconnecting with the real world, and trying to find out who she is along the way. But old habits of shallow rich people die hard, so much of the acute “Loot” comedy sharply centered around the idea of altruism and philanthropy conflicting with and against the superficiality of the privileged and wealthy (Rudolph’s tone-deaf, clueless character being a focal point of the jokes). This tension, selfishness vs. selflessness, and whether these opposites could co-exist fueled the fundamentals of the show.
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At its core, much of what transpired throughout the first season of “Loot” could easily find a comparison to the likes of “The Good Place,” “Parks and Recreation” and “30 Rock,” with series masterminds Alan Yang and Matt Hubbard both writing alums of the latter two. As the show attempted to find its voice, it faced its stumbles but did reach some semblance of footing by the season’s end. For these reasons, it’s fortunate that season two kicks off with all the enthusiasm of a series, having worked through a decent portion of its growing pains and now seemingly in better control of what it wants to do and say, For better or worse, much of that is much more of the same, only with slightly sharper writing and distinction. For the most part, this is a good thing.
The first season of “Loot” followed Molly’s post-divorce pains as she plotted a course down the comeback trail after learning the details of the affair her tech-billionaire ex-husband, John Novak (Adam Scott), engaged in (a much younger assistant, naturally).
One globetrotting bender after another and enough money spent to demote her second-wealthiest woman ranking later and it was time for the beleaguered Molly to take her seat as head of her namesake charitable foundation. Early episodes showed Molly essentially committing the same offense: act in a privileged, self-regarding, oblivious manner, learn her lesson, rinse, and repeat. Part of this, to be honest, was a bit of “woke” culture shock. The world had grown in the age of empathy and #MeToo, but Molly was often too filthy rich to understand the evolving times.
However, in this process, a focus emerges, showing Molly’s personal growth as blunders are made and she finds a way to recover. As the first season raced towards its finish, the hidden talent of Rudolph’s supporting cast began to emerge. Though a mid-season fling with a fellow philanthropist clouded Molly’s judgment and potentially led her to consider leaving her position within the foundation, the final moments saw a reverse course and Molly awakening in bed with her ex, John. Cliffhanger, anyone?
Season two starts in typical Molly fashion, doing her version of Vogue’s “73 Questions” as she shows off her extravagant home. Her night with John is now an immediate mistake of the past, and it’s time to settle firmly into her role overseeing The Wells Foundation. She also needs to make good on her benevolent intention of donating every cent in her possession to her foundation’s mission, another major turn from the end of season one. But it’s Molly’s next move that could be one of her most significant.
The idea is to repurpose vacant hotels into living quarters for the area’s homeless, acting as the backdrop for much of the season’s events. It’s something Molly’s foundation’s morally meticulous director, Sofia (Michaela Jaé Rodriguez), unexpectedly supports, considering her previous clashes with the woefully out-of-touch Molly— her assistant Nicholas (Joel Kim Booster), cousin Howard (Ron Funches) and accountant Arthur (Nat Faxon) along for the ride. Adam Scott also returns in a similar capacity as before, reprising his glorified cameo. These colorful supporting characters receive numerous spotlight-seizing moments scattered throughout the season’s ten episodes, with several carried over from season one. In the process, a sincere feeling of chemistry materializes, strengthening as each episode moves along at a decent clip, even if the half-hour runtime sometimes feels overlong.
It’s no knock on the cast. Each ensemble member knows how to precisely command every second of screentime with effortless performances and the sensation that it feels as if this group has known one another for decades instead of a mere two years. Most notably, episode two sees Sofia pushed towards a potential relationship with a charming architect (O-T Fagbenle), which comes back occasionally throughout the season. This dynamic plays out as a delight in the process, thanks mainly to the terrific rapport between Rodriguez and Fagbenle. Nicholas (Booster), meanwhile, receives his own one-off with episode three focusing on a risqué stage play where the character has a lead role and the unexpected appearance of his conservative, Midwestern parents, an effort on behalf of Molly to rebuild the estrangement between the three. It’s another wholesome moment in a show that knows when to use them.
If only then could the humor be just as frequent. It should be clear by now that “Loot” may never stand alongside the legendary comedy of the show’s influences or any of the sitcom greats of years prior, but where it might lack in comedic consistency, it certainly makes up in the field of amusing needle drops, not at all unlike season one with a forgotten early-aughts R&B/hip-hop single punishing the eardrums seemingly every other minute.
Though the soundtrack and Molly’s journey towards the resolution of homelessness might act as the drivers of “Loot,” it’s Molly’s relationships serving as the engine, with her desire to enjoy single life disrupted by the appearance of another handsome suitor (Benjamin Bratt) while on a wellness retreat. If the preceding season hadn’t already established it firmly, the Pam and Jim-ness of Molly and Arthur shouldn’t be at all difficult to notice, with Faxon’s Arthur continuing to feel much like a promising student at the Ed Helms School of Fine Arts. In these parts of the story, the showrunners’ pedigree takes a seat on full display.
Molly’s growth was an undeniable struggle for said showrunners throughout season one. At the same time, her balance between genuine appreciation of her team and the lighthearted vapidity that contributes much to Molly’s own humor dynamic sticks the landing much more gracefully this time around.
The supporting cast can be hit and miss, but it’s Ron Funches’ Howard who can always reliably steer any line into a joke. Funches’ role is often the comedy glue holding “Loot” together, and this becomes astoundingly evident as the season moves along. In episode one, there’s even the reveal that Howard has been secretly living in Molly’s guest house due to financial issues, inspiring Molly’s homeless-solving endeavor. It’s another juxtaposition between Molly’s charmed existence and the “normal” people who encircle her world.
It’s hard to label “Loot” as anything more than inoffensive, occasionally humorous, and mostly amusing. Still, it does seem to have enough juice to warrant further ventures into Molly’s world through at least one more season. Ultimately, the series asks, are self-absorbed billionaires worthy of redemption? “Loot” doesn’t totally make the case, but perhaps with a bit more fine-tuning, it can eventually find a bit more comedic salvation. [B-]