In the post-Avengers:  Endgame era where the once seemingly unstoppable Marvel machine has proven to be more than fallible, Marvel’s 8-episode limited series Wonder Man serves as a genuinely refreshing breath of fresh air. It delivers well-executed television storytelling by putting the focus on its central pairing of two struggling actors in Simon Williams (Yahya Abdul-Mateen II) and Trevor Slattery (Sir Ben Kingsley), offering up a smart and sincere bromance story as opposed to the next big spectacle. The show’s comedic nature and Hollywood setting may invite easy comparisons to recent shows of a similar nature like HBO’s The Franchise or Apple TV’s The Studio, but these ultimately ring hollow. While the show definitely satirises some aspects of Hollywood and the life of an actor, its main focus is ultimately to serve as a character piece. The show’s priority is to explore Simon, Trevor and their growing friendship as both characters meet and struggle to land a role in the Wonder Man movie while hiding secrets of their own.

A huge part of why the show is so successful is that it is first and foremost an example of good character-driven storytelling, focusing almost entirely on its characters and the relationship between them. This is evident from the show’s excellent opening scene, which is a great introduction to Simon. It succinctly and charmingly introduces his love for movies and acting, establishing the thoughtfulness he has for the craft while also clearly showing why he would still be struggling despite being a talented actor. The show is also an example of good television storytelling, with every episode having its own distinct identity that puts Simon and Trevor in a unique situation, whether it is struggling to do a self-tape, going for a callback with a director or going to a mother’s birthday party. All the while, each episode builds on the previous one and continues to develop the growing friendship between the two. A particular standout of the season would have to be episode 4’s “Doorman”, a standalone episode of the show that acts a striking cautionary tale and critique of how quickly Hollywood can chew up, box in and then spit out people of color, in a storytelling move that feels spiritually indebted to FX’s Atlanta. “Doorman” also shines thanks to an excellent turn by Byron Bowers, who does great work in portraying the joy and tragedy of his character’s arc.

Performance-wise, however, the standouts would obviously have to be Abdul-Mateen and Kingsley, whose crackling chemistry together is at the heart of the show’s charm. As Simon, Abdul-Mateen delivers a fine portrait of an actor who is at once dedicated and passionate but also seriously inhibited in other ways, doing a masterful job of conveying the turmoil and loneliness beneath the character’s closed-off exterior. Over the course of the show Abdul-Mateen shines as he gets to play the full gamut of emotions that a working actor like Simon goes through, from the nervousness, self-doubt and tiredness that comes with constant rejection to the sheer joy at any sign of career success. As for Kingsley, he also proves to be a delight in the series as Trevor, imbuing him with a hapless but endearing charm and flexing his comedy chops across the show. At the same time, he is also hugely winning in bringing a tender warmth to Trevor. The character becomes an acting mentor and friend to the otherwise isolated Simon, allowing him to lend more depth to a character previously solely utilised for comedic relief. Seeing the gradually developing bromance forming between the two characters proves to be an absolute delight thanks to the wonderful chemistry the two actors share. The twists and turns that their relationship is put through over the course of the show proves to be far more absorbing than the usual superhero spectacle associated with a typical Marvel show.

In fact, Wonder Man represents a genuinely radical break from many of the shows that Marvel has done before, eschewing unnecessary CGI action sequences or setting up things for future movies/shows in favour of a focused and low-key character and relationship piece. Even as the show satirises the entertainment industry, it remains an unabashed love letter for acting. It holds space for a sincere scene where Simon and Trevor quote famous monologues to each other while also poking fun at Marvel itself and tennis-ball acting among other things. What makes this show so refreshing is that it acknowledges the difficulties of being a working actor and trying to make it in the industry while holding a firm and sincere belief in the wonders of creation and community that the art allows for. And surprisingly for a show hailing from the Disney/Marvel machine, Wonder Man also manages to sneak in an admittedly light critique of the entertainment industry’s complicity in the US government’s propaganda apparatus and a prison/policing industrial complex driven by a need to hit numbers and meet quotas.

The show’s winning sincerity is matched by a specificity which should also be commended. Shooting in Los Angeles and Hollywood itself just further reflects the show’s appreciation for its thematic and subject matter, while that specificity also extends to the show’s portrayal of Simon. In the comics, Simon Williams is a white character, but here he has been adapted to be a second-generation Haitian-American struggling to achieve his dream as an actor. Episode 3 delves more deeply into this aspect of the character by exploring his family and the dynamic he has with his mother and brother. This kind of thoughtful adaptation change and exploration is sadly all too rare and as such is greatly appreciated.

Ultimately, the marriage of the show’s thematic exploration of acting with its specificity of character storytelling and excellent lead performances all combine to make Wonder Man a truly satisfying piece of television. While I do have a minor nitpick regarding the choice of the show’s final shot, which cannot help but feel like a flub given how much the show is clearly meant to be a piece centered on Simon and Trevor, this ultimately does not derail what is arguably Marvel’s best project in quite some time. Wonder Man is a testament to how focused character writing and exploration when brought to life by performers as good as Abdul-Mateen and Kingsley is ultimately a recipe for success.

8/10