{"id":958875,"date":"2026-01-02T17:14:20","date_gmt":"2026-01-02T17:14:20","guid":{"rendered":"https:\/\/www.polygon.com\/?p=448506"},"modified":"2026-01-02T17:14:20","modified_gmt":"2026-01-02T17:14:20","slug":"did-beetlejuice-2s-writers-abandon-ship-halfway-through","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/did-beetlejuice-2s-writers-abandon-ship-halfway-through\/","title":{"rendered":"Did Beetlejuice 2\u2019s writers abandon ship halfway through?"},"content":{"rendered":"
\"Betelgeuse
<\/figcaption><\/figure>\n

\u201cI swear, the afterlife is so random<\/em>,\u201d Jenna Ortega\u2019s angsty teen character Astrid Deetz grouses, deep into the action of Tim Burton\u2019s Beetlejuice Beetlejuice. <\/em>It\u2019s meant as a tossed-off line, one of those \u201cWell, that<\/em> happened!\u201d \/ \u201cOoh, that\u2019s<\/em> gotta hurt!\u201d straight-to-the-audience statements that stand in for actual jokes. Instead, it lands like she\u2019s saying the quiet part out loud, laying out a mission statement for the entire movie.<\/p>\n

Beetlejuice Beetlejuice <\/em>is fundamentally a series of chaotic visual gags and halfhearted character micro-arcs, all strung together at random. It\u2019s a showcase for Burton\u2019s anarchic sense of humor and love of comic caricature, a sequel built around callbacks to and echoes of the original 1988 movie. It\u2019s another tick mark on the seemingly endless list of 2020s franchise installments<\/a> that serve as belated victory laps for past comic triumphs, while blunting what was unique about those triumphs in the first place. But on its own, it isn\u2019t much of a movie. At best, it\u2019s half a story \u2014 which is much more baffling than if it were pure giddy nonsense with no discernible story at all.<\/p>\n

\"Astrid<\/p>\n

The plot feels like the screenwriters (Smallville<\/em> and Wednesday<\/em><\/a> co-writers Alfred Gough and Miles Millar) were only around for the first half of the project. The setup, at least, is full of specific character detail: Beetlejuice<\/em> protagonist Lydia Deetz (Winona Ryder) has become a celebrated TV ghost-chaser and secret off-screen pill-popper, traumatized by her teenage experiences with Betelgeuse (Michael Keaton), the \u201cbio-exorcist\u201d (ghost? Or demon? This movie says both) who terrorized Lydia\u2019s family in the first movie. She\u2019s estranged from her angsty teenage daughter Astrid, who feels Lydia spends too much time with her TV audience.<\/p>\n

The space between them leaves room for three predators with their own agendas: Lydia\u2019s oily manager Rory (Justin Theroux); local sad boy Jeremy (Arthur Conti), whose doe-eyed Dostoevsky fandom piques Astrid\u2019s romantic interest; and of course Betelgeuse himself, who\u2019s still obsessed with marrying Lydia, 30 years after their first encounter. All these men want something from the women in this story, and all three of them disguise ambition as romance. It\u2019d be a clever parallel if the whole structure didn\u2019t fall apart immediately after the setup.<\/p>\n

There\u2019s a vague whiff of emotion somewhere under all the ensuing nonsense, pinned in the idea that Astrid and Lydia each want each other\u2019s love and attention, but can\u2019t find common ground, given Astrid\u2019s firm skepticism about ghosts and Lydia\u2019s determination to keep her daughter away from the world of the dead. The ways both of them turn to other people and other pastimes to fill the holes in their lives might be poignant, if it all wasn\u2019t so obviously a ploy to pack the film with more antic characters \u2014 none of whom Burton and the writers really commit to for more than a scene at a time.<\/p>\n

Beetlejuice Beetlejuice<\/em> is a profoundly overstuffed movie, even with some of the legacy characters awkwardly shuffled off the stage. Lydia\u2019s mother Delia (Catherine O\u2019Hara) is still a central figure, but her husband Charles (Jeffrey Jones, whose career ended with a child pornography scandal<\/a>) conveniently dies in a comic accident, portrayed in stop-motion as a bid to keep the actor off screen. And original ghosts Adam and Barbara (Alec Baldwin and Geena Davis, who possibly knew better than to take Burton\u2019s phone call for this one) \u201cfound a loophole,\u201d evaded their mandate to haunt Lydia\u2019s house for the next 125 years, and disappeared from the story.<\/p>\n

\"\"<\/p>\n

To fill their spots, the sequel trots in a bunch of new faces, including Willem Dafoe as Wolf Jackson, a dead action-movie actor who treats his new afterlife-cop gig as just another hammy performance, and Monica Bellucci as Delores, a stitched-together ghost who wants to devour Betelgeuse\u2019s soul. As a visual design, Monica is a straight-and-simple blend of Morticia Addams and Burton\u2019s design for Sally in The Nightmare Before Christmas<\/em><\/a>. As the movie\u2019s main villain, she\u2019s an absolute nothing \u2014 a few poses, a few visual effects, and no sense of threat whatsoever. She\u2019s just another cold body running around in a maze with no entry and no exit.<\/p>\n

That\u2019s the real problem in Beetlejuice Beetlejuice <\/em>\u2014 Dolores, Rory, and Jeremy don\u2019t get enough screen time or narrative space to become meaningful or memorable. No one does. The first half of the movie blurs by in a flood of character trivia that doesn\u2019t matter and never comes up again. There\u2019s no theme or throughline to any of the bits and bobs, like Astrid\u2019s obsession with climate change and political advocacy, or Delia\u2019s latest huge art project, which uses her body as a canvas.<\/p>\n

A doggedly determined film-theory scholar might connect the ways the movie\u2019s three generations of women are all trying to reassert control over their lives in a chaotic world \u2014 Astrid by focusing on the environment, Lydia by commoditizing and trivializing her unwelcome connection with the dead, Delia by literalizing her control over her own body. But none of these plot threads are important to the story or, past the introduction, to the characters. The competing plot lines crowd and flatten each other out. They ultimately devolve into a shared joint means to line up the cast for a rapid-fire tour of the afterlife, which everyone runs around like they\u2019re pulling a Scooby-Doo door gag<\/a>, except with more half-baked puns.<\/p>\n

\"\"<\/p>\n

And then there\u2019s Keaton, resuming the Betelgeuse role as if he never left it, smarming and swanning his way through a movie that has no room for his larger-than-life performance. The first Beetlejuice<\/em> gets a lot of its energy from the tonal conflict between Baldwin and Davis\u2019 sweetly hapless, hopeless fish-out-of-water ghost characters and Keaton\u2019s gleeful yet kid-friendly malice, with Ryder caught in the middle as a classic Burton morbid-goth oddball. In the sequel, there\u2019s no sense of that conflict: The whole world has taken on the riotous, ghoulish tone of Keaton\u2019s character, and every player in this story feels like a thinly masked version of the same person. There\u2019s no touch of sweetness in any of it, except maybe in the few bare moments when Astrid first meets Jeremy, and wonders if she\u2019s finally found someone who understands her, as vaguely and broadly drawn as she is.<\/p>\n

There\u2019s a real sense that the screenwriters left the building after laying down the first hour of the movie, leaving Burton to fill in the rest of his run time with \u201cHey, remember that from the first film?\u201d references. The stop-motion sandworms are back. The afterlife-as-hell-bureaucracy gags are back. The broad-shouldered, shrunken-head corpse is back, and now there are a lot more of them. Betelgeuse is still pulling his seen-from-behind face-exploding routine to freak people out. A child choir sings Harry Belafonte\u2019s \u201cBanana Boat (Day-O)\u201d in a setting that makes not the slightest lick of sense as anything but a callback. Once again, a big lip-synched musical number is forced on a bunch of unwilling participants. It\u2019s the laziest possible way to put together a sequel: nostalgia with only the barest minimal new spin on anything, right up to a climax that\u2019s more or less the finale of the first movie with a few old names hastily crossed out and a few new ones scribbled in.<\/p>\n

At his best, Tim Burton always excelled in finding the hint of sincere emotion at the bottom of his garish comedic nonsense: Edward Scissorhands\u2019 longing to safely and securely fit into a family, Jack Skellington\u2019s pure delight in the fresh new excitements of Christmas, Ed Wood\u2019s authentic love of cinema and desire to make something beautiful and beloved. Burton\u2019s characters used to stand out both for their unpredictable, cheerfully gruesome oddities and for the ways they channeled the relatable feeling of wanting to be accepted without necessarily having to conform. But there\u2019s no sign of sincerity anywhere in Beetlejuice Beetlejuice<\/em>, and no hint of relatable feeling. The entire movie is an echo chamber crammed with incident. As Astrid notes, it\u2019s so random<\/em>.<\/p>\n

\n

Beetlejuice Beetlejuice <\/em>is in theaters now.<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI swear, the afterlife is so random,\u201d Jenna Ortega\u2019s angsty teen character Astrid Deetz grouses, deep into the action of Tim Burton\u2019s Beetlejuice Beetlejuice. It\u2019s meant as a tossed-off line, one of those \u201cWell, that happened!\u201d \/ \u201cOoh, that\u2019s gotta hurt!\u201d straight-to-the-audience statements that stand in for actual jokes. Instead, it lands like she\u2019s saying the quiet part out loud, laying out a mission statement for the entire movie. Beetlejuice Beetlejuice is fundamentally a series of chaotic visual gags and halfhearted character micro-arcs, all strung together at random. It\u2019s a showcase for Burton\u2019s anarchic sense of humor and love of comic caricature, a sequel built around callbacks to and echoes of the original 1988 movie. It\u2019s another tick mark on the seemingly endless list of…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":958876,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-958875","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nDid Beetlejuice 2\u2019s writers abandon ship halfway through? | Arcader News<\/title>\n<meta name=\"description\" content=\"\u201cI swear, the afterlife is so random,\u201d Jenna Ortega\u2019s angsty teen character Astrid Deetz grouses, deep into the action of Tim Burton\u2019s Beetlejuice\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/did-beetlejuice-2s-writers-abandon-ship-halfway-through\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Did Beetlejuice 2\u2019s writers abandon ship halfway through? 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