"Fantasmas" S1E3 kicks off with yet another intriguing glimpse into the Dodo trial, where Bowen Yang's Dodo testifies, baffled initially by the elves' toy-making endeavors in February, only to realize his unintended contribution to the world of adult toys. Julia Fox's Mrs. Claus steps forward, confirming Dodo's discovery of the strap-on within the Claus abode, but with a twist—she proudly proclaims their commitment to testing every North Pole-crafted toy, even going as far as to personally trial the strap-on on Santa himself. Her true agenda, however, is to cast aspersions on Dodo's motivations, implying his lawsuit stems from a deep-seated hatred for the holiday season.
This scene, while entertaining in its absurdity, left me somewhat underwhelmed, as if it were crafted solely for shock value rather than profound contemplation. Similarly, the vignettes woven into the "Toilets" segment felt more gimmicky than profound.
Aidy Bryant shines as Denise, promoting toilet dresses in a commercial that playfully argues all toilets are inherently feminine, unwitting participants in their duty, deserving of a touch of glamour. The sight of toilets adorned with sequins and other embellishments is undeniably amusing but lacks the intellectual intrigue found in earlier episodes' explorations of the letter Q or the hilarious Melf sitcom.
Then, we delve into the realm of hamsters, where Julio Torres' Julio embarks on a quest for a lost earring, stumbling upon the tale of Fufu's, a former gay hamster nightclub now transformed into a CVS. The humor is abundant, and for those who stick till the credits roll, a post-credits surprise awaits, featuring even more hamster antics. Yet, amidst the laughter, one can't help but feel this segment too leans heavily on quirkiness for its sole purpose.
Once more, I must emphasize that my remarks are not intended as a critique of the innovative path 'Fantasmas' embarks upon. The show deftly bends reality towards the bizarre, eliciting humor as a byproduct. At its pinnacle, this comedic approach propels thought into uncharted territories. However, given the show's tapestry woven from disparate vignettes, it's understandable that some segments resonate more profoundly than others.
Enter Julio, captivated by the allure of Incorporeal, a company promising liberation from the corporeal realm. Vicky (portrayed by Sydnee Washington), with a hint of mischievous charm, informs him of the monthly fee: a hefty $999. Her vague allusions to the consequences of defaulting leave little room for doubt—cessation of payment seems synonymous with annihilation.
Given Vicky's penchant for telemarketing scams, posing as a legitimate bank representative, skepticism naturally arises regarding Incorporeal's authenticity. Further unraveling the web, we discover that Vicky and her brother Oscar (Ikechukwu Ufomadu) operate an internet café, mired in debt due to Oscar's impulsive ambulance call for their father. Incorporeal is merely a sideshow amidst their financial struggles.
Yet, the legitimacy aside, Julio confronts a formidable obstacle: Incorporeal demands a Proof of Existence, an elusive document he lacks and is reluctant to acquire. Season 1, Episode 3 sheds light on this enigmatic requirement. It's a monthly $5 commitment, increasingly indispensable for daily activities by year's end, including the mundane act of taking the subway. The application process is invasive, probing into credit and employment histories. The specter of exclusion for the consistently unemployed with tarnished credit looms, though it's left unspoken, making the implication all the more chilling.
Julio, despite his reservations, harbors aspirations for an exemption, a privilege typically reserved for the realm of celebrity. Vanesja, portrayed by Martine Gutierrez, has concocted a career opportunity that might pave the way, albeit a humbling one: a commercial for a credit card company that's bound to evoke a cringe-worthy reaction. Our curiosity lingers, awaiting next week's revelation on whether Julio will muster the courage to swallow his pride and embark on this endeavor.
Meanwhile, Julio's mind remains clouded by doubts about the ominous birthmark adorning his neck, fearing it may be a harbinger of cancer. His quest for a lost earring, now seeming like a forlorn hope, leads him on a bizarre odyssey that culminates at a hamster-filled CVS and then to the unsuspecting classroom of Amina (Eudora Peterson), where a furry informant divulges the earring's fateful plunge into a toilet bowl. In a surreal turn, Julio engages in a conversation with the waters themselves, personified by Tilda Swinton, only to learn that his cherished earring has been flushed away.
Amidst this surreal escapade, we encounter a pair of mermaids, played by Kim Petras and Princess Nokia, who indulge in a comical lament about the perils of Halloween costumes. Yet, it seems Julio's journey to retrieve his earring now necessitates a dive into the depths of the ocean.
My heart wishes that Julio will reject the credit card ad proposition from Vanesja, holding fast to his principles. Concurrently, I nurture a faint hope that he might still helm the groundbreaking Tooth Fairy film exploring addiction, a vision he passionately pitched earlier in Season 1, Episode 3, though the prospects appear dim. As the narrative weaves its intricate web, it hints that the crux of 'Fantasmas' might revolve around Julio's eventual acceptance of the necessity to procure a Proof of Existence, a process that necessitates relinquishing some of his cherished individuality in exchange for societal validation. Yet, I cling to the optimism that he will somehow find a creative loophole, navigating this existential quagmire with his unique brand of ingenuity.
