The first few episodes makes the most of the baroque sets, shooting them with a cartoonish, tongue-in-cheek sensibility. It gives the impression that they’re constantly living in these memories, and the structure does well to break up the show and keep things from getting too static – after all, it’s the story of a disbanded superhero team who reunite at the funeral of their adoptive father.īut things soon get very interesting as Number 5 (Aidan Gallagher), a team member thought long lost, returns from the future with a prophecy of apocalyptic implications – more specifically, that they have eight days to save the world. Perhaps the most important diversion from the comic is how, instead of front-loading the backstory of the eclectic, dysfunctional team, the show starts with their adult lives, working backwards with regular flashbacks. Their traumas basically go hand-in-hand with their powers, with the exception of Vanya (Ellen Page), whose insecurity and depression comes from her lack of powers and her constant exclusion from the team. Plucked from different backgrounds by the world-renowned scientist Sir Reginald Hargreeves (Colm Feore) after all being born at the same time in different locations across the world, the children of the Umbrella Academy are trained from a young age to be superheroes at varying degrees of cruelty their sibling relationships are damaged almost beyond repair by these shared experiences. Showrunner Steve Blackman and writer Jeremy Slater treat the comic as a jumping off point rather than an untouchable holy text, as they change up some of these relationships, move the story to the present day and merge the events and characters of two books into one storyline that’ll keep everyone guessing, rather than a simple page-to-screen adaptation.
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