As "As Fantasmas" delves into Season 1, Episode 6, Julio Torres's Julio embarks on a quest, armed with a clue to the elusive oyster earring lost beneath the ocean's depths. His path crosses with a unique duo: Deidre, a charismatic goldfish portrayed by Patti Harrison, and her trusty assistant Bryce, played by Sam Taggart. Impressed, Julio enlists their services to retrieve the precious bauble, and they triumphantly succeed.
Yet, Julio's aspirations for a digital afterlife hit a snag as he prepares for the Incorporeal procedure. Just as he's on the brink of transcending his physical form, Vanesja (Martine Gutierrez) warns are met with an unexpected twist—a call informing him his neck mole is harmless, followed by Oscar's (Ikechukwu Ufomadu) revelation that the earring isn't a family heirloom; it's a mere Amazon purchase. Julio's grand plan to evade his troubles through digital immortality is thus thwarted.
Undaunted, Julio shifts focus to securing a Proof of Existence exemption, relying on his pitch for "How I Came Out to My Abuela," a project he had pitched to Zappos mere days ago. Susanna (Natasha Lyonne) takes the helm, casting Joe Rumrill's robotic Bibo as the lead. However, Bibo's lack of a Proof of Existence necessitates an unconventional approach—hiring him as a prop, with the robot astonishingly able to project a human form, mimicking Ana Fabrega's Trish. One wonders how Trish would react to this impersonation, given her absence from the episode's narrative.
Meanwhile, Dylan O'Brien's Dustin grapples with the notion of wealth redistribution, contemplating a press conference to voice his stance. But his ambitions are quelled by Vanesja's sobering reminder of the financial consequences, and a heartening gesture from a fan with a sweatshirt proclaiming, "All you did today is try and that is enough." Amid their discourse, a fleeting red dot, reminiscent of a sniper's crosshair, flickers on Dustin's forehead, with Vanesja casually dismissing it. This enigmatic moment, coupled with Vanesja's subsequent display of a firearm, hints at a deeper narrative arc for her character, perhaps unfolding in a hypothetical Season 2. Or, perhaps, it's merely a quirky, comedic aside, adding a dash of mystery to the already surreal world of "As Fantasmas."
Alas, I must confess that the humor embedded in the season finale of 'Fantasmas' Season 1 failed to resonate with me as I had hoped. Perhaps it was the episode's relentless attempt to tie up every loose end from the season, inadvertently overwhelming it with a convoluted plot. Carl (portrayed by Spike Einbinder), unluckily struck by a script brimming with Julio's eccentric ideas, finds himself staging a production at an elementary school, an endeavor that unexpectedly reunites Gina (Greta Titelman), Edwin (Bernardo Velasco), and even Michael (Jeter Rivera), the bully whose antics in the premiere episode were fueled by a desperate desire to be noticed by all, including Amina (Eudora Peterson).
Julio, in a heartwarming gesture, bestows upon Michael the very doctor's note that once granted him exemption from unwanted tasks, eliciting a genuine smile from the former bully. It's a bittersweet yet triumphant conclusion, signaling a potential turnaround in Michael's story arc.
For Julio himself, victory comes in the form of securing the coveted Proof of Existence exception, allowing him to bid farewell to his dilapidated apartment and embark on a fresh start in a new abode. Though the means to this end may not have filled him with joy, the mere fact that he's escaped the imminent demolition and circumvented the arduous official process is a triumph in itself.
A somber note is struck when we learn, through Julio's indulgence in a Chester, that Dodo (Bowen Yang) has lost his legal battle, a revelation that casts a shadow over Chester's (Tomas Matos) mood. This marks the resolution of another lingering narrative thread throughout Season 1, leaving only the enigmatic outcome of Julio's Dream Analysis Kit results dangling precariously. Yet, the season offers a glimmer of hope in the form of a post-credits teaser, where Julio receives a text message announcing the readiness of his dream's interpretation, teasing a potential revelation in the near future.
The central vignette in "The Void," aptly named for its pivotal theme, offers an exclusive glimpse into the world of "The True Women of New York," a satirical take on the ubiquitous "Real Housewives" franchise. Emma Stone shines as Genevieve, Rosie Perez as the fiery Bianca, Rachel Dratch as the eccentric Rellany, and Cole Escola steals scenes as the enigmatic Dina.
Genevieve, ever the creative force, has lent her touch to Bianca's restaurant design, only to have Dina stir up controversy over a seemingly insignificant empty corner, dubbed "the void" by the group. Seeking a respite from the drama, they embark on a fleeting escape from the hustle and bustle of New York. Yet, their squabbles over "the void" persist, like an unwelcome companion.
The true revelation unfolds as the cameras cease rolling for the night. The women find themselves amidst a sea of green screens, a stark reminder of their artificial surroundings. While Rellany and Dina seem to shut down like clockwork robots, Genevieve and Bianca remain wide-awake, disoriented and questioning their reality.
Enter Brandon (James Scully), a mysterious figure who claims they are captives but offers a glimmer of hope—escape after the next day's filming, with the door at stage left left unlocked as their ticket to freedom. However, he warns them against the door at stage right, a portal to Jared's domain, a forbidden zone fraught with unknown dangers.
But when the moment arrives, Genevieve's loyalty to Brandon overrides her desire for freedom, leading her and Bianca through the door to Jared's office. Here, the truth is unveiled: Brandon was but a facade, Jared's masterful disguise. He, their self-proclaimed creator, reveals how he's been manipulating their minds through his mother's disembodied brain, a twisted tale of control and manipulation.
Genevieve and Bianca plead for their release, only to be met with a shocking revelation—they can leave, but it means returning to the confines of prison. It transpires that they've unwittingly signed away their freedom, trading it for a spot on "The True Women of New York" and Jared's manipulative grasp. Faced with this grim reality, they choose to stay, trapped in a cycle of their own making.
Jared's grand scheme, orchestrated for the sake of a sensational season finale, exposes a chilling truth: the very scenes meant to expose the backstage shenanigans of their fake series are, in fact, meticulously orchestrated parts of the show itself. A twisted irony that leaves one pondering the blurred lines between reality and fiction.
Despite the collective elements presented, none of it resonated deeply with me. I suppose 'Fantasmas' aims to offer some satirical insights into the realm of reality television, yet the precise nature of this commentary remains elusive to me. Perhaps the essence lies solely in humor, but while intellectually acknowledging the potential for laughter, I found myself unable to partake in the merriment. I sincerely hope this segment of the season finale fared better for you than it did for me.
As 'Fantasmas' Season 1 draws to a close, the prospects for a potential Season 2 appear somewhat sparse but intriguing. The revelations from Julio's dream analysis offer a glimmer of hope, albeit I found his dream rather straightforward in its interpretation. Another intriguing thread revolves around Vanesja, a performance artist whose true identity is Martine. The climax of the episode sees Bibo mischievously posing as Vanesja's sister, eliciting a dramatic reaction from Vanesja herself, who brandishes a gun at this illusionary sibling before Bibo reveals the prank. Does Vanesja indeed possess a sibling? This mystery could well spark further intrigue.
Undoubtedly, the heart of 'Fantasmas' lies in its eccentric vignettes, and if the show were to continue, I have no doubt that Julio Torres harbors a wealth of imaginative concepts along these whimsical lines. Season 1 has been an entertaining journey, and I would welcome its continuation with open arms.
