The Witcher season 2 ending explained

Confused about the ending of The Witcher season 2? Don’t worry, our explainer has you covered.

Given that this is a piece designed to explain the ending of The Witcher season 2, it should be pretty obvious that we’re going to be venturing deep into spoiler territory here. If for whatever reason it’s not obvious, we’ll state it outright: we’re going to be venturing deep into spoiler territory here. Don’t say you weren’t warned.

Still here? Nice! Let’s talk about The Witcher season 2’s ending and look at the many ways it could influence an already-confirmed season 3, without getting too into the weeds of what happens in the books because a) spoilers and b) as we noted in our Witcher season 2 review, it’s very liberal with its changes anyway.

Geralt, Ciri, and Yennefer become a Family

Yennefer strikes a deal with the Deathless Mother

Given that ‘Family’ is the name of the season’s final episode, it seems prudent to start our explainer by focusing on what that means. While Geralt and Ciri’s early days together are a little shaky, season 2 is all about the White Wolf learning how to become a dependable father figure for his child of surprise. This is addressed pretty brazenly later on in the season when Ciri tells Yennefer that Geralt is “like the father I never had.”

It’s around this time that Yennefer starts to see Ciri in a similar way to how Geralt does, although her deal with the Deathless Mother – which involves delivering Ciri to Voleth Meir to get her Chaos back – is nearing fruition. Ciri, using a sort of preternatural instinct that allows her to involuntarily access her power, manages to figure out what Yen is up to and attempts to run away, but not before Nilfgaard attacks. As always, Geralt arrives in the nick of time to save his daughter and learn of Yen’s true intentions. It’s worth remembering that this isn’t a simple case of deus ex mechanizing an easy solution by having the hero appear purely for the sake of convenience. If you paid attention to season 1, you’ll likely know just how important the concept of destiny is to The Witcher, meaning there are larger forces at play allowing Geralt, Ciri, and Yennefer to continuously bump into and save one another.

Towards the end of the season finale, Yennefer tries to make amends by priming herself as a host for Voleth Meir in order to exorcise her from Ciri. Once the switch occurs, all three characters are transported to an alternate sphere alongside Voleth Meir, where it becomes clear that the latter – who has been on The Continent since before the Conjunction of the Spheres (more on that later) – was really just trying to go home to her own world. At this point, the Wild Hunt appear and ask Ciri to join their ride. It’s bad enough having Nilfgaard, Redania, the Brotherhood, the Northern kingdoms, the elves, and a host of private factions after you – why not add an ancient race of spectral elves on skeletal steeds into the mix?

On top of all of that, we learn the true identity of Nilfgaard’s elusive White Flame, gain insight into Dijkstra’s dirty tricks, witness whole new story beats that weren’t in the books, and become privy to so much more. We also know some of the ideas mentioned so far might not have been openly explained in the show, so we’re going to go into more detail on those, too.

What’s up with the Deathless Mother?

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One of season 2’s most prominent and dangerous antagonists is Voleth Meir, commonly referred to as the Deathless Mother. Unlike many of the other monsters and miscreants in Netflix’s adaptation, Voleth Meir isn’t actually featured in any of the books – in fact, her character seems to be way more inspired by the games, which received a lot more love in season 2 than in the series’ inaugural outing. 

Voleth Meir is a demon who was trapped in her hut by the first ever witchers. In the Netflix series, she calls out to Yennefer, Fringilla, and Francesca Findabair after appearing in their dreams as a robed figure. All three sorceresses meet her properly once the elves uncover an ancient ruin, which leads to a hut perched on basilisk legs. This is a clear reference to the chicken-legged abode of Baba Yaga, the Polish folk monster who serves as the main inspiration for the Crones in The Witcher 3

The reason Voleth Meir called out to these sorceresses was to manipulate them into making trades with her. Because Voleth Meir is a demon who feeds on suffering, temporarily affording these people happiness in order to orchestrate a violent reversal to trigger immense pain was on her agenda from the get-go. The fact Francesca’s baby is killed, which in turn instigates the mass murder of newborns across Redania, is what the demon ultimately needed to escape her prison.

Once she’s out, she possesses Ciri after sensing her nascent power. From here, she travels back to Kaer Morhen, kills multiple witchers, smashes the Medallion Tree to expose yet another stellacite monolith, and attempts to bring monsters from alternate spheres to The Continent. Her efforts are eventually thwarted by Yennefer, who offers herself up as a vessel once she realizes that Voleth Meir can’t exist in this realm without a host. The ensuing reaction causes Ciri to teleport herself, Geralt, and Yennefer to another sphere, at which point Voleth Meir departs and presumably goes home. 

What is the Conjunction of the Spheres?

Leshens are monsters in The Witcher that control the forests

You might be thinking: “What’s all this sphere mumbo-jumbo these people keep banging on about?” The easiest answer is this: in the world of The Witcher, monsters and even humans aren’t native to The Continent. The universe is separated into different spheres, all of which were independent of one another until a massive cosmic phenomenon called the Conjunction of the Spheres caused them to clash. In the books, people generally think that the Conjunction caused several spheres to sort of merge, cementing the existence of monsters and mortals on the Continent. 

In the series, this has taken a fascinating turn. Throughout season 2, we see various monoliths – the huge stone pillars that Yennefer’s ex-boyfriend Istredd studies. Scholars previously thought the mysterious structures were related to the Conjunction, but it’s only during the events of season 2 that people like Istredd and Geralt realize that they likely represent points of impact – instead of a permanent joining of worlds, it’s as if the various spheres only touched for a second before breaking off from one another again. This explains why so many of the monsters in this season are new to Geralt – they’re not from his sphere. 

Naturally, that brings us to the Big Bad revealed at the end of season 2: The Wild Hunt. 

Who are the Wild Hunt and what do they want?

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Anyone who has played the Witcher games will likely know of the Wild Hunt – or the Wraiths of Mörhogg, as they’re known in Skellige – on account of the fact that the third game is literally named after them. There’s much more to them than their scary skeleton masks though. 

The Wild Hunt are a race of dimension-hopping spectral elves called the Aen Elle and are different to the Aen Seidhe elves we see on The Continent. Prior to the Conjunction of the Spheres, the Wild Hunt travelled to various worlds in order to take their inhabitants as slaves. The Conjunction put an end to this, which is why they’re so laser-focused on Ciri after meeting her in the season finale: Ciri, with her Elder Blood, is capable of opening portals to other spheres just like she does for Geralt and Yennefer here. Put plainly, she is the Wild Hunt’s solution for going back to their pre-Conjunction ways.

What is Elder Blood?

Ciri is a child of the Elder Blood

We heard a lot about Elder Blood this season. Known as Hen Ichaer in the original Elvish, Elder Blood refers to the bloodline of Lara Dorren, an elven sorceress who married a human mage. It’s actually difficult to get into it here without spoiling things that are yet to come, so instead we’ll just include Ithlinne’s prophecy, which is written on page one of Blood of Elves and spoken aloud in the Netflix adaptation:

Verily I say unto you, the era of the sword and axe is nigh, the era of the wolf’s blizzard. The Time of the White Chill and the White Light is nigh, the Time of Madness and the Time of Contempt: Tedd Deireádh, the Time of End. The world will die amidst frost and be reborn with the new sun. It will be reborn of Elder Blood, of Hen Ichaer, of the seed that has been sown. A seed which will not sprout but burst into flame.

Ess’tuath esse! Thus it shall be! Watch for the signs! What signs these shall be, I say unto you: first the earth will flow with the blood of Aen Seidhe, the Blood of Elves…

Which brings us to the next piece of the puzzle at the end of season 2…

What is happening with the elves?

Filavandrel, king of the elves

As you probably noticed while you were watching, the elves aren’t particularly pleased right now. Marching under Francesca Findabair and Filavandrel – the latter of whom is the former elf king we met in season 1’s ‘The Edge of the World’ – the elves are out not for revenge, but, as Francesca puts it, “justice.” After Francesca’s baby is killed, the elves leave Nilfgaard and head to Redania, home to the perceived culprit King Vizimir.

When Istredd shows up at the elven camp, he tells Francesca that Ciri is Hen Ichaer – a Child of the Elder Blood. With this information in tow, the elves are given newfound hope, although the matter of obtaining vengeance for losing the first elven baby born in years remains unresolved. That’s not to mention they have the wrong guy.

Who is the emperor of Nilfgaard?

Emhyr is Ciri's father

The person who actually ordered the death of Francesca’s child was none other than The White Flame himself. Constantly referred to as Emhyr throughout the season, the finale reveals that the emperor of Nilfgaard is actually Duny, Ciri’s father and the Urcheon of Erlenwalde from season 1, episode 4. You know, hedgehog man.

There’s quite a lot going on here, most of which is explained in later books. All we’ll say is this: yes, this plot point comes directly from Sapkowski’s novels and makes perfect sense. You’ll see.

What happened to Ciri’s mother?

Pavetta, Ciri's mother in The Witcher

While Duny, now going by Emhyr, is alive and well, details around Ciri’s mother are still very muddled at this point in the story. Both were presumed dead and now one apparently isn’t – that’s all we know from the show. We could explain exactly what happens here, but that would be spoiling what’s to come instead of explaining what we’ve already seen.

On top of that, the series has already steered away from the books on multiple occasions. Eskel doesn’t die in the novels, Voleth Meir is a product of the Netflix adaptation, and all of those new monsters are new to book readers, too. Hell, the vast majority of Yennefer’s entire arc is totally original to the Netflix series. 

There are a whole lot of other moving parts, too. While newcomers to the series might not have thought much of Dijkstra’s owl, her transformation at the end gave us our first look at Philippa Eilhart, King Vizimir’s resident sorceress in Redania. Speaking of which, Vizimir is conspicuously absent from the meeting of Northern kings and queens coordinated by Tissaia. The mounting political intrigue in these areas is directly proportional to the number of people who want to capture Ciri for their own personal gain, and our family of three are at the heart of all of it.

Here’s hoping season 3 comes soon, eh?

Written by Cian Maher on behalf of GLHF.

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The Witcher season 2 review: Forget what you think you know

The Witcher’s second season is markedly stronger than its first, and introduces a variety of unexpected twists to Geralt’s story.

A bucket bangs against a wall to the rhythm of a clock that’s forgotten how time works. With each connection, the silence surrounding the carriage becomes slightly more conspicuous. No dogs bark. No song spills from taverns. A passenger alights and adds a series of raps to the chorus of metallic clinks, desperately hammering on a door separating hearth from snow. It’s likely his last breath is drawn before he even feels the talons piercing his spine – in the world of The Witcher, some victims aren’t even given the courtesy of outliving the title screen.

The Witcher is not like other fantasy stories. Despite constant comparisons to HBO’s behemoth Game of Thrones, Andrzej Sapkowski’s universe is a beast the likes of which have never been seen elsewhere. For all its werewolves and wyverns, this is a fantasy world only insofar as it is a world in which monsters and magic merge with the lives of mortals. 

Its stories, however, have always been deeply grounded in the grim, gritty truths reality likes to fictionalize. While this was true of Netflix’s inaugural season in its ongoing adaptation of Sapkowskl’s books, it’s far more pronounced in Geralt of Rivia’s sophomore outing. This is particularly of note when you consider that what makes The Witcher so special in the first place is that even its coldest moments are incapable of expunging fantasy’s most stubborn flickers of warmth. That’s ultimately what season two is all about – smoldering embers of hope allowing people to survive even the harshest winters of pain.

Yennefer in The Witcher season 2

Season one naysayers will be glad to know the story is much more easily parsed this time around, and effortlessly settles into a comfortable pace right from the get-go. The Battle of Sodden has exacted immense tolls on both sides of the war – the lingering carnage’s likeness to a small-scale Battle of the Bastards is perhaps the season’s first and only real point of comparison to Thrones. This is far more important than a mere backdrop designed to quickly catch you up on what happened at the end of season one, though. One of the most fundamental themes of The Witcher is how relentlessly rigid its cycles of hatred are. The other is how that idea is a load of rubbish. 

To distill The Witcher into as basic a binary opposition as that is almost a disservice to its ambition, although it’s probably the most accurate way of describing what keeps this world spinning with any sense of brevity. Everything here is empowered mostly because this story consists of a sprawling web of complementary opposites. Geralt himself, a mutant monster slayer who is supposedly devoid of all feeling due to his ostracization from society, is probably one of the most emotionally driven people in the series because of his ties to found family. The whole idea of the ‘witcher’ has never just been a profession or some sort of jargonic warrior designation – it’s the lens that allows the nuances of this world to be viewed with proper clarity. This rings especially true when you consider that season two sees Ciri accompany Geralt to the sequestered keep of Kaer Morhen, where the Lion Cub of Cintra begins to bare formidable fangs of her own. 

Their journey together leads to yet another point of opposition. Geralt and Ciri’s relationship is shaky at first, but gradually develops as the season progresses in a way that is impressively true to both characters. For example, after witnessing Ciri experience a nightmare while camping, Geralt doesn’t offer a shoulder to cry on or pretend he didn’t notice. Instead, he says, “I sleep like [expletive] too,” brilliantly demonstrating how well-intended sincerity is far more powerful than a more conventional response to soothing a child after a bad dream. There’s also a nice little easter egg for fans of The Witcher 3 here – the first of many in a season that is clearly based on the books, but highly affectionate towards CD Projekt Red’s own efforts at adapting Geralt’s adventures for a new medium.

Ciri training in Kaer Morhen in The Witcher season 2

Bookending all of this tenderness, however, are stories of war, oppression, conspiracy and astronomical loss. The plight of the elves clearly has its roots in centuries of real-life racism, with dozens of abhorrent scenes showcasing the unrelenting brutality of humanity’s boot-stomping goose step. Puppet monarchs are manipulated by masters of Machiavellianism as strings are pulled, twisted, and chopped in half. Regardless of who, where, or what you are, it is impossible to make your way through this world unscathed unless you’re the one doing the scathing.

If The Witcher is serious about accomplishing anything, then, it’s to ensure you don’t spend too long lingering on any one specific feeling. While screen time is obviously biased towards the series’ main characters, it’s always clear that The Continent is a place filled with individuals, all with their own lives and dreams and secret vices. The writing knows when to be subtle, when to be sharp, and when to be sensational, allowing The Witcher to navigate unknown emotional depths with the swiftness, confidence, and fluidity of Henry Cavill dancing between mercenaries in a flurry of silver, steel, and savagery. 

Speaking of which, Cavill once again looks hellbent on proving to everyone that he was born for this role, as do Anya Chalotra and Freya Allan with their depictions of Yennefer and Ciri, respectively. While all three instances are true, season two appeals to a far larger case. Not only are these characters connected as a means of articulating the season’s core theme – in season one it was destiny, here it’s more aligned with found family. Instead, it becomes strikingly clear from very early on that these three actors were born to play their roles together

Geralt of Rivia in The Witcher season 2

Cavill is expectedly excellent as the gruff Geralt of Rivia, flitting between bouts of horse-whispering and dad-jokering in a way that clearly differs from his season one portrayal of the character, but works. The softness and care he exhibits around Ciri is the quintessential part of his growth – everything he does is a subtle and inconspicuous way of making it easier to resonate with him. Even when you don’t know you’re on Geralt’s side, you usually are, because despite the fact he’s supposed to have nothing in common with anyone, all of us have everything in common with him. You know, minus the 50-inch biceps and undying odor of horse urine.

The real stars of season two are Chalotra and Allan though. There are some phenomenal performances from other characters – Tom Canton returns as Filavandrel, Eamon Farren gets some meatier scenes to give us a better idea of Cahir, and Anna Shaffer is brilliant as Triss, even if giving her red hair this time feels a bit like pandering to loudmouths on the internet. On top of that, our new band of witchery brothers at Kaer Morhen mostly consists of lovable louts, with the affectionately nicknamed Lambchop giving fans of the series a spirited take on a beloved character. 

Every single scene with Yennefer though is either revivifying or disarming. What’s more, most of Yen’s arc here is completely original to the Netflix series – the fact the writers have handled it with such tact and finesse serves as a major testament to how much they deserve to spin stories in this world. Allan, meanwhile, has a significantly larger part to play this time around. While Ciri wasn’t given a whole lot of time to breathe in season one, here we see her truly start to grow. Her relationship with Geralt obviously develops, but what’s more important is how much she learns about herself. Ciri is a character who has always contained multitudes, and Allan manages to manifest each and every one of them spectacularly. 

Freya Allan in The Witcher season 2

Something that may have particularly pedantic fans in for a time of contempt is that season two deviates from the books on more than one occasion. Without venturing into spoiler territory, the showrunners have made some extremely bold decisions very early on in a series that has the potential to go on for a long time. In our eyes, all of the changes are justified based on how Netflix is integrating its own stories into this world. That’s not to mention that CDPR did the same thing with its Witcher video game series – it’s probably safe to say it worked that time, eh? 

That brings us to another important point. A lot of people watching The Witcher might have already read the books or played the games, meaning they’re at least vaguely familiar with the objectives of this season. This was clearly a point of consideration in the writers’ room in that season two is approachable for people who don’t know the difference between a ghoul and an alghoul, but never patronising towards fans with preexisting knowledge of the series. Again, there’s a lot of original material here too, so even if you think you know where things are going… no, you don’t.

This season also flaunts significantly higher production values. I was on set for season one two and a half years ago and seeing new locations come to life this time around is noticeably different. Places feel more palpable most of the time and completely inaccessible on the odd occasion they’re supposed to. Even the directing is a cut above what we saw back in 2019 – the show regularly exhibits impressive restraint with roving camera angles that seem to tease jump scares that never come. On other occasions – usually trippy, feverish sequences – the camerawork is so good that it’s difficult to hold your focus as scenes swallow their successors whole. It’s remarkable.

Geralt of Rivia fighting in The Witcher season 2

This refinement is also visible in monster fights, which relied perhaps a bit too much on VFX spectacle in season one. Here, there are rules of engagement and a clear methodology to the process. As well as the swords and sorcery, we get to see all the brilliant bits of preparation that make the premise of being a witcher so fascinating in the games and books, except somehow it’s been cleverly condensed into an efficient TV sequence. Basically, this is a show made by people who are very good at proving they know what they’re doing. 

That point is particularly pertinent to someone like me, a lifelong Witcher fan who would be the first person in the world to criticise missteps in this universe. There’s a feeling that stayed with me through the first six episodes of The Witcher season two, which lingers even now as I stew over what I’ve seen and attempt to surmise what’s yet to come. Watching the books I have loved for years being adapted for television is extremely daunting. Characters I know appearing with faces I don’t never ceases to be weird. Being thrown off every time the narrative digresses from the one I’m familiar with is disorienting. Through it all, I can’t help appreciating how original, ambitious and inspired The Witcher under Lauren S. Hissrich is. My doubt is constantly proven wrong, which is perhaps the single greatest praise I can bestow upon The Witcher season two.

Following this show is like nothing I’ve ever experienced before. It’s like a constantly developing manifestation of something ends, something begins – and with each and every ending, the subsequent beginnings become more and more enticing. With the success of Nightmare of the Wolf and anticipation for The Witcher Blood: Origin, it seems like Netflix’s Witcher universe is garnering the potential to immortalise itself as a de facto colossus of contemporary fantasy. I, for one, can’t wait to see more.

Written by Cian Maher on behalf of GLHF

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If The Witcher goes for seven seasons, Henry Cavill will be there

What about seven seasons of Roach?

Henry Cavill is down to reprise his role as Geralt of Rivia in the Witcher for seven seasons, The Hollywood Reporter  reported Wednesday.

Before The Witcher  even premiered, showrunner Lauren Hissrich  claimed she’d written seven seasons’ worth of stories. That means a whole lot more Geralt, naturally! Thankfully Cavill is up to the task of donning a particular silver wig when and if the time comes.

“Absolutely,” Cavill said via The Hollywood Reporter. “As long as we can keep telling great stories which honor [author Andrzej] Sapkowski’s work.”

The Witcher Season 2 is coming on Dec. 17 and you can check out a trailer for it below.

Cavill is a huge fan of The Witcher video games by CD Project  as well. In fact, that adoration is what made him so eager to go after the part of Geralt in Netflix’s adaptation.

“I pursued, pursued, pursued,” Cavill said via The Hollywood Reporter. “A couple months after they had gone through their casting process, my agent called and said, ‘They’ve asked you do an audition — you don’t have to do this.’ I’m like, ‘I’ll do it.’ They said, ‘Really? Are you sure?’ I said, ‘Of course. It’s The Witcher.'”

That last comment is pure gold.

Written by Kyle Campbell on behalf of GLHF.

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‘The Witcher’ Season 2 trailer shows off epic battles ahead of December 17 premiere

More monsters, sword fights, and Yennefer.

The Witcher  Season 2 is coming out on Dec. 17, and a new trailer is giving us a sneak-peak at what to expect from it.

It’s been nearly two years since the first season of The Witcher came out, and Netflix has spared no expense on Season 2 if this trailer is any indication. Everything from the locations to CGI work on monsters is much more lavishly detailed than Season 1. It makes sense. A common criticism of The Witcher back when it first came out was that it looked relatively low-budget compared to the likes of Game Of Thrones. No longer, though. 

Also, objectively best character Yennefer of Vengerberg is back. Sorry, it’s just basic facts. 2 + 2 = 4, Yennefer = best character in The Witcher. Can’t argue with science, I’m afraid.

Check out the new Season 2 trailer of The Witcher for yourself below. If you’re worried about spoilers, this trailer doesn’t seem to give away the plot at all, thankfully.

Have to say, the costume work this season looks much better, too. Though the teasing from Netflix seems to have confirmed that already. The series is well on its way to rivaling the games and novels in terms of hype as well. So what better way to wait for The Witcher 3: Wild Hunt on PlayStation 5 and Xbox Series X|S than to watch the Netflix show?

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A new poster for ‘The Witcher’ Season 2 shows off Geralt of Rivia ahead of December 17 debut

Everyone’s favorite monster-slayer is back.

Season 2 of The Witcher is due out in two months, and Netflix is already teasing what’s to come. On Wednesday, the official Twitter account released a poster of Henry Cavill in-character as Geralt in the second season.

“Created to kill. Destined to protect,” Netflix  said. “The Witcher Season 2 debuts December 17 on Netflix.”

That’s not a whole heck of a lot to go on, but at least Cavill looks sharp as ever. Curiously Geralt is only wielding a single sword instead of his trademark silver and steel blade combination. 

Check out The Witcher  Season 2 poster for yourself below. 

It’s been almost two years since the first season of The Witcher  premiered on Netflix, so fans are thirsty for any tease at this point. A trailer for the second season came out recently too, and it looks like a step-up from the first in terms of production quality and special effects. Check it out for yourself below. 

Let’s hope it surpasses the first season’s storytelling as well.

Written by Kyle Campbell on behalf of GLHF

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