The Umbrella Academy has hit it out of the park again with its newest season. The show trims away the contrived excess and capitalises on everything that made the first season great: time travel hijinks, family banter and musical action. The second season steps up its game as a polished version of the original.

After the events of ‘Apocalypse Suite,’ the characters are thrown across time and space spread across 1960s Dallas. Having realised the potential of each character, the screenwriters put each of them into their own unique situation that dives deeper into their personal and collective trauma. Then, they impressively intertwine it all into one cohesive narrative. Amidst adorable dance numbers and inventive fight scenes, this show finds grace and meaning in the absurdity and chaos of unfamiliar worlds. Family superhero stories are widespread right now, but this show achieves what so many other screen stories could only aspire to. In typical Umbrella Academy style, this show leaves its viewer on a brilliant cliff hanger that just makes them want more. I already cannot wait for the next season.

Gerard Way’s comic adaptation continues with imaginative action sequences, beautiful visuals, and great acting performances. This show revels in its unpredictability. We cover cults, asylums, gangsters, forbidden queer love, civil rights movements, nuclear warfare, time travel and presidential assassination. It is uncanny how good the timing of this show is – 2020 has been in a sense, apocalyptic. And as one of the Umbrella Academy’s members, Allison (Emmy Raver-Lampman), squares off against Jim-Crow laws while the BLM movement currently surges, it poignantly illustrates the length of this passionate, withstanding revolution. Without being too preachy this show highlights struggle in a fascinating way along with the idea to make life happen wherever you are. My favourite part of this entire season, however, is when Klaus (Robert Sheehan) says what we were all thinking about Allison and Luther (Tom Hopper). Poking fun at their incestuous relationship, he comments that the best relationship ever in the family ‘was when Five was banging that mannequin.’

Having read the comics, I noticed the imitation problems which plagued the first season. In comparison to the unorganised and slightly nutty debut, the second season of The Umbrella Academy finds its own voice beautifully. Taking liberty with the storytelling and diverging farther away from the comic, the screenwriters devised something new, original, and interesting as hell. During the first season, the dysfunctional family bickers among themselves most of the time, but we finally see that all paid off when they come together in the most satisfying way with the help of some needed and miraculously done character resets.

Character dynamics are the heart of this show, and the producers, actors, writers, directors, etc., outdid themselves. Each character has their time in the limelight. Hilarious lines are shared among the cast and every character combination is intriguing. Each character development and each relationship development are fulfilling. Luther becomes an endearing lug head. Klaus’ chaotic-ness and Ben (Justin H. Min)’s diligence balance each other perfectly. Vanya (Ellen Page) happily joins the family. Allison fights like a hero by protesting, and Diego (David Castañeda) gets the screen time he so rightfully deserves. In this season, we see his hero complex put into conflict his hard exterior with his soft interior.

The Umbrella Academy’s captivating family dynamics and development achieve what many other screen stories could only hope to. The crew’s ballsy move to shift towards what seems to be a completely original season 3 will be just as (if not more) compelling than season 2, as long as they keep their compelling focus on character.

We are getting all too acquainted with the tropes and idioms of superheroes, especially family superhero stories. As much as I and many others adore Marvel, people complain about ‘The Marvel Formula’ for a reason. The same story is being told over and over again, and as a result, newer stories get cornered by the genre’s own conventions. Yet, Umbrella Academy refuses to be cornered. It is gritty and edgy. Instead of opting for grand spectacles like stopping a speeding train or save a burning building, the characters solve their way through time travel paradoxes and another apocalypse. Although Umbrella Academy strays away from the classic hero story to a certain extent it still plays into a lot of the core concepts other stories only comprehend on the surface level. It is more experimental than it is subversive.

The way this show deals with the line between freak and hero, what it means to change the world and being unable to live normal lives in such a heart-wrenching, meaningful way alone is brilliant. Then, when it strings all the parts together with an authentic fluidity, it becomes even better. Superhero families are a trope thrown out constantly for marketing reasons; other franchises want to ride the train of what is trendy. The best success of Umbrella Academy is that it possesses the genuine feel of a family.

As deranged as this family is, this show gets you to love them. In fact, in spite of all the family’s flaws and abusive upbringing I want to be a part of it. I admire Diego’s heroism, Klaus’ flamboyance, Ben’s appreciation for life, Allison’s strong will, Luther’s humility and Vanya’s courage. This show could just have an episode of this family talking in a café for 60 minutes and I would be alright with that because it nailed each of its characters even if people default to their favourites and least favourites. My only worry for this show is how successful its own formula is. How many times can it hit its reset button before it loses its spontaneous, exciting edge?

Rating: 4.5/5

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