The secret to the popularity of Netflix’s “The Umbrella Academy” may be in its music choices. At the end of one episode, the series plays a cover of Adele’s “Hello” in Swedish over a montage of var…
At the end of one episode, the series plays a cover of Adele’s “Hello” in Swedish over a montage of various characters’ travails; the language choice seems chosen at least in part as a way to earn points for quirk that seems, in the moment, purposeful and excessive. Later in the season, a fairly brutal fight scene, culminating in a death, takes place scored to the 1990s pop standard “Everybody .”
Both of those series seem much more vividly a part of culture, even for people who do not watch them, than did “The Umbrella Academy.” It would likely be possible for a big TV fan to go through the world not knowing this show existed — which, again, is not an accomplishment unique to “The Umbrella Academy.” As the show launches its second season July 31, its success seems emblematic of what generally makes a hit these days.
A show being all one thing would be boring. And yet “The Umbrella Academy” demonstrates — here and elsewhere — a greedy desire to be all things, if not at once then as close together as possible. Hence we get killings set to giddy pop music, and plot that reverses upon itself without successfully being what it’s about in the first place, and unnecessarily showy surrealism.
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