If you're striving to amplify the suspense in a television series, nothing beats the relentless tick of a clock as a narrative catalyst. The enduring popularity of '24,' which visually embedded a countdown in the frame, spanning eight gripping seasons, attests to this truth. When every moment is precious and the end draws ever nearer, the stakes escalate exponentially in every scene, setting pulses racing.
In 'Umbrella Academy's' "Öga for Öga," the adoption of this timeless trope—complete with audible tick-tock punctuating critical junctures—is a shrewd move to ratchet up the tension. Yet, where the episode stumbles is in its flippant justification for Five's 90-minute ultimatum. The casual revelation that The Handler simply delights in toying with people's lives in bizarre, capricious ways, while true to her character, feels like a flimsy scaffold upon which to hang an entire episode's weight.
To reach this precipice, Five embarks on a time-traveling mission to 1982 Wisconsin, transforming into a ruthless assassin as he infiltrates and violently dismantles the Commission's executive board, wielding a fire-axe with chilling efficiency. The gruesome spectacle of him dispatching no less than 11 individuals serves as a jarring reminder of Five's dark past, casting a pall over the proceedings. It's unsettling to witness, especially when one considers the moral ambiguity of cheering on such an amoral protagonist.
Back in Dallas, 1963, Five attempts to rationalize his actions, claiming they're vital for reuniting his siblings in 2019, a move that inexplicably holds the key to saving the world. But the arbitrary 90-minute countdown imposed by The Handler adds another layer of urgency, turning Five's quest into a frantic scramble across Dallas, as he frantically gathers his siblings against the relentless march of time. It's a race against not just the clock but also the very fate of humanity, hung precariously on the thread of Five's relentless pursuit.
The Umbrella Academy, a tapestry woven with thwarted aspirations, unsurprisingly stumbles when Five strives, with all his might, to meet the looming deadline, only to fall short. (To clarify: Among the siblings, it's a mere trio—Five, Luther, and the dual-faced Klaus/Ben—who manage to arrive before time runs out.) The reasons for the others' absence, though surprising in their own right, are intricately woven into the fabric of their romantic entanglements. "The Umbrella Academy's expertise in love? Screwing it up," Klaus quipped earlier, and while that may be a bit harsh, it's undeniable that these Hargreeves offspring, ensnared by love, find themselves unexpectedly grounded in the vibrant yet tumultuous Dallas of the 1960s.
Diego, the first among them, confronts Lila with her blatant betrayal, only to succumb to her drugged flask, slipping into unconsciousness. But Lila's time apart from Diego serves as a catalyst for introspection. When Diego awakens, he finds himself in The Handler's office, where Lila, now her mother's head of security, boldly declares him her beau. There's a captivating dynamic between these two, scarred souls who grew up under the oppressive shadows of eccentric parents, now forging a bond of their own. Whether Diego can forgive Lila's litany of lies since their first encounter remains to be seen.
Meanwhile, across the city's bustling streets, Allison grapples with a momentous decision regarding Ray: Shall he forsake the civil rights movement of 1963 for a new life with her in 2019? Despite Allison's earnest argument that the fight is far from over in the future, Ray stands firm, believing his place is still needed in 1963. Even when Allison offers to use her extraordinary power to erase his memories of her, he declines, choosing instead to bear the pain, for in doing so, he holds onto the precious memory of their year together.
This sequence is nothing short of exhilarating, masterfully crafted, and exquisitely performed by both Emmy Raver-Lampman and Yusuf Gatewood. It's precisely why the abrupt intrusion of the Swedish assassins, accompanied by the jarring soundtrack of "Everybody (Backstreet's Back)," felt like a jarring disruption. Yet another slick, vacuous fight scene that seemed to prioritize spectacle over substance. At times, Umbrella Academy seems to shy away from delving into the rich tapestry of human emotions, as if fearing that lingering too long with the characters' depths might bore the audience, prompting hasty transitions to fisticuffs or pop-infused moments.
In a genuinely unnerving turn, Allison's power is employed in a heart-wrenching manner, compelling a Swedish assassin to choke his own brother to death. Yet, by the time the dust settles from the skirmish, it's a missed opportunity for emotional reunions in the alley's shadows.
And then there's Vanya, her destructive tendencies, a lingering specter from the apocalyptic events of season one, resurfacing when Five's warnings prove futile. Determined to defy him, Vanya insists on bringing Sissy and Harlan back to 2019, only to be thwarted by Sissy's unwavering loyalty to Carl. In a poignant gesture, Sissy pens a heartfelt farewell, inadvertently granting Carl the leverage to summon the police. As Vanya, Sissy, and Harlan race towards their rendezvous, the police intervention turns their escape into a chaotic confrontation.
Left with no alternative but to confront or surrender, Vanya unleashes her formidable powers upon the officers, her fury ablaze until a cunning cop manages to catch her off guard, knocking her senseless. With their return to 2019 now uncertain, the stage is set for dire consequences to unfold in the unforgiving year of 1963, where every action and decision will have profound repercussions for all.
