TV Series Review: Devil May Cry – Season 2 (2026)

Hot on the heels of a very successful season one, Devil May Cry season two has landed on Netflix, and once again, Adi Shankar takes the reigns as showrunner and story writer.

Now, before I even get into the guts of season two, I must ask you a question?. Did you enjoy season one? If the answer is no, you’re probably not going to like season two. If the answer is yes, then you probably will. It is as simple as that. Season two is more of the same, except bigger, bolder, and in a lot of respects, gaudier. What it isn’t, is better than season one.

Season two picks up some time after the events of season one’s finale, with Dante (Johnny Yong Bosch) in cryogenic captivity and the war between Earth and Makai (Hell) well and truly underway. Mary Ann Arkham aka Lady (Scout Taylor-Compton) is still working for DARKCOM, and we’re reintroduced to her as she sneaks into Mundas’ throne room to find an ancient relic. It’s in here that we see just how much she has changed since season one, no longer filled with hatred for demons and having doubts about DARKCOM’s intentions.

It doesn’t help that Arius von Erenburg (Graham McTavish), the founder of DARKCOM is giving the orders under the watchful eye of William Baines (Ian James Corlett), who still believes he’s on a mission from God.

Mary doesn’t trust Aruis and suspects he has ulterior motives but continues to work for DARKCOM out of loyalty to Baines. However, even his reasonings for this war are looking sketchy and humankind is beginning to realise that a war with Hell might be senseless.

Which is where Vergil (Robbie Daymond) comes into things. He is Dante’s twin brother, who was believed dead, and he is working for Mundas now. It’s not that he’s a bad guy, he’s just got a different point of view, but just like Dante, he would love to get his hands on whoever was responsible for the death of their mother.

It’s the kind of detail that could be used to manipulate him, so it’s not too much of a surprise that is what happens. Vergil is given a name, but to get his revenge, he’s going to have to tear through humanity and Dante, who is brought out of cryogenic captivity to stop him. Their conflict is one of the season’s major driving forces, but they’re all being played. There are much larger forces at work here and a plan to resurrect the original boss of Hell is in motion. Someone wants Satan back on the throne, but why?

It’s no surprise that season two is a lot more action packed, but what might surprise is just how much more action packed it is. To the inevitable detriment of other aspects, least of all an engaging story. There’s a lot of moving parts, but at its core, this second season of Devil May Cry follows a very simple action-based formula. Beat the bad guy, save the world, and get the girl. All of which happens to some degree across the eight episodes here.

I’m not criticising this as it’s a stylistic choice that fits the world and its characters better, but it is notable that season one could do both. It had action, and it had consequences. Dealing with mortality, grey areas, and emotion. I’m not saying season two is completely devoid of this, but it’s not quite as remarkable.

A lot of this lies at the feet of a villain who just lacks potency. From the moment Aruis appears on screen, he’s obviously a bad guy and because of that, his big reveal falls flat, and he never feels like a true threat. Compare him to the White Rabbit and the nuances there and his flaws as a villain become even more apparent.

What does work is his corruption of DARKCOM and how that ties into Mary, who begins the season in a strong place, but ends up regressing to little more than a side character in the end. It’s disappointing, but I understand it to some degree, as this is Dante and Vergil’s story.

It takes a little while to get there but it’s built up nicely, and the pair have several notable battles both against each other and alongside each other. Their conflict is what makes season two worthwhile in my opinion, especially as the writing focuses on how their traumas affected them in different ways.

Of course, with this comes top notch voice acting and stunning animated visuals that light up the screen. Season one had its visual issues, but season two looks downright flawless most of the time. Alas, what isn’t flawless, is the jamming in of mainstream music from a certain era in time. We get it Adi, you like nu-metal, but you don’t have to force Papa Roach, Evanescence, and even Avril Lavigne into things. Actually, the latter’s Sk8er Boi works really well, and it’s one of the show’s cuter moments.

A lot of the time though, these songs feel really forced, especially when compared to season one. Each to our own though and when it works, it really does work.

There’s a bit more filler this time, but for the most part, the eight episodes deliver energy, and satisfaction provided you can see the show as its own thing and not spend its runtime constantly comparing it to the games. If you’re expecting video game accuracy, think again. Season one made that point clear, I think, and season two hammers it home.

Here’s the thing. It’s ok to like this show. I know the hardcore Devil May Cry fanbase would like you to believe that it’s the worst, most offensive adaption since the last adaption that didn’t tickle their tummies, but it’s not. Netflix’s Devil May Cry and Capcom’s Devil May Cry can be two different things and exist at the same time. One isn’t replacing the other.

Season two didn’t wow me, but I still had a good time with it. Could it be better? Of course, but this is what we got and what we got was pretty damn cool in the end.