THE UMBRELLA ACADEMY - A Spoiler-Fueled Review of the Netflix Series
DISCLAIMER: And while I had earlier published a SPOILER-FREE review earlier on TOYSREVIL, THIS blogpost however is SPOILER-RRIFIC, So Be Warned! Onwards!
I had first come across "THE UMBRELLA ACADEMY" comicbook series published by Dark Horse, pretty much based on my recognition of "Gerard Way" from "My Chemical Romance" - devouring MCR tunes with latent-late emo-aplomb (from before "The Black Parade" album anyways), and caught the Umbrella-bug somewhen after the first series had ended too. The James Jean covers I had adored from DC Comic's "FABLES" was such a major allure (I remember posting an album of images on my now-defunct MySpace page too - THAT's far long gone it had been since LOL), and had suitably been worried if the kinetic spirit and off-center quirkiness of the books by Way and Gabriel Bá could translate into live-action with this much hyped series on Netflix, and I had serious doubts, along with high expectations to be entertained and convinced otherwise.
Even with heightened hope of current TV offerings like "Deadly Class" and "American Gods" shining the way to more mature interpretations/presentations of obscure projects, perhaps a harder sell than your spandex comic-to-media adits like Daredevil, Iron Man, Runaways, Cloak and Danger, The CW on-and-on... first comparison to pop into mind: "Preacher", actually, of a slightly watered down and presentable version, but still nevertheless insane in its own right (I never did even finish the first season, much less begin the second, sorry to say...) - which frankly is a decent and acceptable thing to expect this day and age, isn't it?
(Above: Tricky promo-poster
Below: Snazzy domino masks!)
And in that regard, I personally felt the translation worked enough to keep me "entertained", with enough emphasis on the context of family-dysfunctionality and sibling-issues over-shadowing the said quirkiness of the books. All of it grounds and somewhat conveys the relatability of the situation, which in any case is fantastical, but ironically in THIS current day and age, is acceptable and even understood by the masses, who have since been turned over tot the Geek-Side, without a shadow of a doubt, c'mon! LOL
Number One's living on the moon, Number Five's time-travel - all of which was presented earnestly and seriously, without the need for diarrhoeatic expositioning, says as much about (A) How the audience these days are conditioned to accept such fantastical happenings versus it's rational believability, and/or (B) We are being hoodwinked into the familial drama versus what-folks-are-calling-"X-Men"-styled movie (not a wholly wrong description but for easier consumption of said concepts to the masses), and I am alright with that. And I appreciate that "balance" the filmmakers had tried to imbue this series with, and as imperfect as some flawed aspects had been, in general I adore this series!
First impressions: The politically-correct casting works with the diverse cast, especially within the context of the story, and I love it! As "token" as each nationality in whatever earlier projects has been, in this particular series, they worked beautifully, I felt because the focus on the characters was that - regardless of race/nationality - they were all flawed. If you want to argue the "hero of the day", i'd say it had been quite a "team-effort" of failed attempts, that led to the climax-cum-cliffhanger ending - which to me made it even more satisfying, than having a "traditional hero/heroine", IMHO.
SPACE BOY #1 ("Luther Hargreeves" as played by Tom Hopper) showed the utter inaptness of what folks think a "leader" should be, but instead showed what a decent man could be able to handle adversity. He would be the first character I would worry how translating the comic books to live-action, could hamper the believability of the story, but it worked magnificently for me. Monkey-boy getting high on drugs and getting laid was such an inspired kick in the brainnuts too LOL
THE KRAKEN #2 ("Diego Hargreeves" as played by David Castañeda) was never called "The Kraken" (that I remembered) in this series, and is more likely able to inspire a spin-off series than everyone else, as he is the thinly-veiled personification of the cliched angry/edgy vigilante we see in numerous media. The live-action version is a pale representation of the comic-book iteration, but is suitable to the tv series, IMHO. Flawed but ultimately lovable! And that image of him in blue spandex-top in the promo poster? Ignore that crap! Than f88king goodness he does not dress like that at all!
THE RUMOR #3 ("Allison Hargreeves" as played by Emmy Raver-Lampman) was the most unrecognisable character for me, and thank goodness for the story - which burdened the character with a recognisable appeal of the cliched super-star with family issues, this time flawed to a guilt she carries with her, making her a very well-rounded individual in this story, who did not have as much chances to evoke her "super-power", but for flashbacks. Having her throat slashed was a real show-stopper for me too! And of course being slashed by Vanya was utterly delicious in execution of story, IMHO.
Throughout most of Season 1, I had quite detested the role of SEANCE #4 ("Klaus Hargreeves" as played by Robert Sheehan - which I struggled to accept as Id earlier seen him in "Mortal Engines" lol), because the was being the utterly cliched irritant with a loud mouth, talking cock trying to get his fix ... but gradually, the context of his desire to blur his mind was acceptable and understandable, but hard to relate as he could not embrace his "power" - which he so haphazardly refuses it, but at the same time be able to communicate directly with his dead brother "Ben Hargreeves", but that's just me.
The sidetrack when he time-jumps to the Vietnam War and hence embracing his love for his comrade, was somewhat unnecessary, but understandably needed to be a somewhat catalyst to him being able to emote and rejoin humanity with the pathos of lost love. I would love to be able to see more of what happened there during his jump, but am hesitant to ask for a spin-off, as it might mean MORE of seeing Klaus in action ~ heh.
NUMBER FIVE ("The Boy" as played by Aidan Gallagher) had the best story arc, as he had been able to age and experience his life, and return to relive it again, pushing the story forward with his attempt to quell the apocalypse - which at this time was a secondary story-device (at least to me), all the while loving a mannequin - excuse me, I meant "Dolores", and killing people without conscience or guilt burdening him. His spin-off fable would be a hella story to tell though! And I want to see it all!
As a Asia Chinese myself , I appreciate the token-representation, but was pretty pissed with the lack of activity for THE HORROR #6 ("Ben Hargreeves" played by Justin H. Min), who only manifested at the end of the season, and I certainly hope to see more of his tentacally-ass in Season 2! The notion of live-octopus as a meal for Koreans suddenly became such a deliciously ironic-fun elbow-jerk, as far as I am concerned!
I am torn with the portrayal of Ellen Page as "Vanya Hargreeves" AKA THE WHITE VIOLIN #7 - on one hand the severed subtle presentation of a repressed character is sublime, and at the same time it felt utterly deadpan to a fault. I see more spirit in her role in the dismal "Flatliners" than I see here, FFS! Arguably her role is pretty plump here, presenting an entire arc of development, only to be underwhelmed as much as her violin playing skills. The only bright-light in her portrayal, was seeing her decked out in utterly handsome black-n-white, and eventually clad in all-white - which was visually stunning and a fun reminder of her comicbook appearance, but at the same time, another part of me went; "WTF Happened there?"
Yes I am nitpicking, but Vanya had the more delicious role to present, and I felt it hasd been somewhat squandered.
I actually liked the villain in "Leonard Peabody" (played by John Magaro) in the beginning, but eventually felt tiresome, but very relatable in the real world context, I have to admit, and a true threat without super-powers himself, in his continued manipulation of Vanya, which frankly made it more fun to watch, IMHO.
As "fun" as the roles of CHA-CHA and HAZEL had been (reminding me of the Angels in Preacher, down to Earth to recapture "Genesis"), the one-dimensional Cha-Cha (played by Mary J. Blige) elicited zero connection for me, but for HAZEL (played by Cameron Britton - whom I realised only half-way thru was the magnificent "Edmund Kemper" in the splendid "Mindhunter" Season 1) who had more to offer and entertain beyond wearing the mascot-heads, which in the end meant nothing of significance. Shown above is one of three "dancing" sequences in the entire 10-episode series.
Colm Feore's "Sir Reginald Hargreeves" was the cliched "eccentric father-figure" (transplantable with "Trevor Bruttenholm" from Hellboy), while Jordan Claire Robbins' "Grace" could have been more fun, but lacked the focus the principal characters were afforded, understandably so though. And while I had "expected" a more "robotic" presentation, in the end we got a sampling of a "Westworld"-styled arm-robot action? ~ Heh.
"Best Actor" among the whole lot? "POGO" the ape wearing a suit (Voiced in subtle effectiveness by Adam Godley). Go figure...
... and the characters bicker thru an intriguingly addictive 10 episoder, which I could decently devour within a somewhat full dedicated weekend, leaving folks with an open-ended climactic ending for which I WISH that there will be a second season for!
For the first few episodes, I had experienced a gnawing uncomfortable feeling, of remembering the comicbook source, and of anticipating characters and their quirks - which frankly annoyed me something fierce ... but sticking thru to the end, I had been pleasantly surprised - or as my FB friend Naen mentions: "The whole series is familiar but different." - and it is, for someone that recognises the original source material, and I personally welcomed the range beyond my nostalgic wants.
I can understand the various tangents and side-trips - that help develop and enrich the character - but they do not always succeed, IMHO (Case in point, Klaus' trip to Vietnam and back to the present in the Veteran's club, essentially selfishly pissing on other veteran's lives with his own experience). But understandably they may well be in service of the story, rather than my own personal expectations (:p). Ultimately this was a exceedingly decent story and show presented to the masses, and what I feel to be promising for more knowledgable fans, and I am alright with that.
And I realised the "story" was no longer as interesting as the characters themselves. Yes, the apocalypse will happen. Yes, there will always be a "Butterfly Effect", and yes, the future is inevitable, however way you might want to alter it. After being fed the world-ending calamities in nearly all super-powered-heroes-movies/projects, I am grateful that there isn't a laser-beam shot straight up in the sky that opened up a black hole of swirly colors!
The design and look of the series was excellent in my design-book, with care taken into replicating a specific vintage look juxtaposed with the modern trappings of the now (Oh I could go on forever, but not here... :p), with quite a heap knod to Wes Anderson films, I have to say! From even the hallways and staircases, to not least the dance sequence - a PERFECT Wes Anderson aesthetic (*What? You didn't watch "The Life Aquatic with Steve Zissou"???) No complaints here!
The music (OST by Jeff Russo), and retro song choices were excellent and spot-on (Hey, I remembered from my youth *cough*) - and somewhat realise this project had been predominantly geared towards my fellow age-group, rather than trying to appeal to the younger set, IMHO. Yes I am biased in this musical-period, and hide none of it BWAHAHAHAHAHAHAHAAAAAAA
Thanks to screenrant.com, we have the entire song list for the first season! I have not checked the authenticity, but that might be another post all-together on my TUNES TALK music blog, maybe one day....
EPISODE 1: "WE ONLY SEE EACH OTHER AT WEDDINGS AND FUNERALS"
The Kinks - "Picture Book" - The babies arrive at the Academy.
Fitz and the Tantrums - "The Walker" - The Umbrella Academy deals with the bank robbers.
Tiffany - "I Think We're Alone Now" - The Academy members dance to Luther's record.
They Might Be Giants - "Istanbul (Not Constantinople)” - The donut shop fight scene.
EPISODE 2: "RUN BOY RUN"
Woodkid - "Run Boy Run" - Five runs back to the Academy.
Adam Ant - "Goody Two Shoes" - Klaus gets high.
Queen - "Don't Stop Me Now" - Five fights Hazel and Cha-Cha.
Paloma Faith - "Never Tear Us Apart" - Five finds his siblings in the apocalypse.
EPISODE 3: "EXTRA ORDINARY"
The Yardbirds - "Lost Woman" - Vanya writes her book.
The Hollies - "We're Through" - Hazel and Cha-Cha arrive at the Academy.
Nina Simone - "Sinnerman" - The Academy fights Hazel and Cha-Cha.
EPISODE 4: "MAN ON THE MOON"
Morcheeba - "Blood Like Lemonade" - Luther's morning routine.
Tom Swoon - "Shingaling" - Hazel and Cha-Cha get high and start a fire.
David Gray - "This Year's Love" - Diego finds Patch at the motel.
EPISODE 5: NUMBER FIVE
Noel Gallagher's High-Flying Birds - "In The Heat of the Moment" - Five in the apocalypse.
Big Thief - "Mary" - Klaus returns on the bus.
Don McGinnis - "Memory Bound" - Klaus and Diego fight at the VFA.
The Turtles - "Happy Together" - Ending montage.
EPISODE 6: "THE DAY THAT WASN'T"
The Doors - "Soul Kitchen" - Klaus and Dave go dancing.
Toploader - "Dancing in the Moonlight" - Allison and Luther dance.
Gin Wigmore - "Kill of the Night" - Five intercepts the message.
EPISODE 7: "THE DAY THAT WAS"
Gerard Way - "One" - Harold's backstory is revealed.
Radiohead - "Exit Music (For a Film)" - Ending montage.
EPISODE 8: "I HEARD A RUMOR"
Lena Thorne - "Stormy Weather" - Allison tells Claire a story.
Mary J. Blige - "Stay With Me" - Cha-Cha searches the donut shop.
Hooverphonic - "Mad About You" - The Academy find Allison at the cabin.
EPISODE 9: "CHANGES"
Traditional French Children's Song - "Lundi Matin" - Seven refuses to eat oatmeal.
Lesley Gore - "Sunshine, Lollipops and Rainbows" - Hazel and Cha-Cha fight.
Smith Westerns - "All Die Young" - Five takes Dolores home.
EPISODE 10: "THE WHITE VIOLIN"
Heart - "Barracuda" - Vanya returns to her apartment.
Bay City Rollers - "Saturday Night" - The bowling alley shoot-out.
Gerard Way (feat. Ray Toro) - "Hazy Shade of Winter" - End credits.
Meanwhile, ending this with Gerard Way's cover of "Hazy Shade of Winter" (feat. Ray Toro), and highly recommend this for folks looking for something slightly different from your usual genre tv (something which is about to, and am changing with "Deadly Class", "The Boys" etc), something "off-center", stylistically fun with a heavy dose of retrolicious, a somewhat indie-movie feel that is a marriage of serious apocalyptical death and FUN, complete with musical sequences to delight, and tons of bullets and explosions - courtesy of Hazel, Cha-Cha and Number Five. A "Salvation" is in order for this season, and I am grateful I had a chance to witness it. ENJOY!
WHAT-IS: "A dysfunctional family of superheroes comes together to solve the mystery of their father's death, the threat of the apocalypse and more. Adapted from the comic created by Gerard Way and Gabriel Bá. "
I had first come across "THE UMBRELLA ACADEMY" comicbook series published by Dark Horse, pretty much based on my recognition of "Gerard Way" from "My Chemical Romance" - devouring MCR tunes with latent-late emo-aplomb (from before "The Black Parade" album anyways), and caught the Umbrella-bug somewhen after the first series had ended too. The James Jean covers I had adored from DC Comic's "FABLES" was such a major allure (I remember posting an album of images on my now-defunct MySpace page too - THAT's far long gone it had been since LOL), and had suitably been worried if the kinetic spirit and off-center quirkiness of the books by Way and Gabriel Bá could translate into live-action with this much hyped series on Netflix, and I had serious doubts, along with high expectations to be entertained and convinced otherwise.
Even with heightened hope of current TV offerings like "Deadly Class" and "American Gods" shining the way to more mature interpretations/presentations of obscure projects, perhaps a harder sell than your spandex comic-to-media adits like Daredevil, Iron Man, Runaways, Cloak and Danger, The CW on-and-on... first comparison to pop into mind: "Preacher", actually, of a slightly watered down and presentable version, but still nevertheless insane in its own right (I never did even finish the first season, much less begin the second, sorry to say...) - which frankly is a decent and acceptable thing to expect this day and age, isn't it?
(Above: Tricky promo-poster
Below: Snazzy domino masks!)
And in that regard, I personally felt the translation worked enough to keep me "entertained", with enough emphasis on the context of family-dysfunctionality and sibling-issues over-shadowing the said quirkiness of the books. All of it grounds and somewhat conveys the relatability of the situation, which in any case is fantastical, but ironically in THIS current day and age, is acceptable and even understood by the masses, who have since been turned over tot the Geek-Side, without a shadow of a doubt, c'mon! LOL
Number One's living on the moon, Number Five's time-travel - all of which was presented earnestly and seriously, without the need for diarrhoeatic expositioning, says as much about (A) How the audience these days are conditioned to accept such fantastical happenings versus it's rational believability, and/or (B) We are being hoodwinked into the familial drama versus what-folks-are-calling-"X-Men"-styled movie (not a wholly wrong description but for easier consumption of said concepts to the masses), and I am alright with that. And I appreciate that "balance" the filmmakers had tried to imbue this series with, and as imperfect as some flawed aspects had been, in general I adore this series!
First impressions: The politically-correct casting works with the diverse cast, especially within the context of the story, and I love it! As "token" as each nationality in whatever earlier projects has been, in this particular series, they worked beautifully, I felt because the focus on the characters was that - regardless of race/nationality - they were all flawed. If you want to argue the "hero of the day", i'd say it had been quite a "team-effort" of failed attempts, that led to the climax-cum-cliffhanger ending - which to me made it even more satisfying, than having a "traditional hero/heroine", IMHO.
SPACE BOY #1 ("Luther Hargreeves" as played by Tom Hopper) showed the utter inaptness of what folks think a "leader" should be, but instead showed what a decent man could be able to handle adversity. He would be the first character I would worry how translating the comic books to live-action, could hamper the believability of the story, but it worked magnificently for me. Monkey-boy getting high on drugs and getting laid was such an inspired kick in the brainnuts too LOL
THE KRAKEN #2 ("Diego Hargreeves" as played by David Castañeda) was never called "The Kraken" (that I remembered) in this series, and is more likely able to inspire a spin-off series than everyone else, as he is the thinly-veiled personification of the cliched angry/edgy vigilante we see in numerous media. The live-action version is a pale representation of the comic-book iteration, but is suitable to the tv series, IMHO. Flawed but ultimately lovable! And that image of him in blue spandex-top in the promo poster? Ignore that crap! Than f88king goodness he does not dress like that at all!
THE RUMOR #3 ("Allison Hargreeves" as played by Emmy Raver-Lampman) was the most unrecognisable character for me, and thank goodness for the story - which burdened the character with a recognisable appeal of the cliched super-star with family issues, this time flawed to a guilt she carries with her, making her a very well-rounded individual in this story, who did not have as much chances to evoke her "super-power", but for flashbacks. Having her throat slashed was a real show-stopper for me too! And of course being slashed by Vanya was utterly delicious in execution of story, IMHO.
Throughout most of Season 1, I had quite detested the role of SEANCE #4 ("Klaus Hargreeves" as played by Robert Sheehan - which I struggled to accept as Id earlier seen him in "Mortal Engines" lol), because the was being the utterly cliched irritant with a loud mouth, talking cock trying to get his fix ... but gradually, the context of his desire to blur his mind was acceptable and understandable, but hard to relate as he could not embrace his "power" - which he so haphazardly refuses it, but at the same time be able to communicate directly with his dead brother "Ben Hargreeves", but that's just me.
The sidetrack when he time-jumps to the Vietnam War and hence embracing his love for his comrade, was somewhat unnecessary, but understandably needed to be a somewhat catalyst to him being able to emote and rejoin humanity with the pathos of lost love. I would love to be able to see more of what happened there during his jump, but am hesitant to ask for a spin-off, as it might mean MORE of seeing Klaus in action ~ heh.
NUMBER FIVE ("The Boy" as played by Aidan Gallagher) had the best story arc, as he had been able to age and experience his life, and return to relive it again, pushing the story forward with his attempt to quell the apocalypse - which at this time was a secondary story-device (at least to me), all the while loving a mannequin - excuse me, I meant "Dolores", and killing people without conscience or guilt burdening him. His spin-off fable would be a hella story to tell though! And I want to see it all!
As a Asia Chinese myself , I appreciate the token-representation, but was pretty pissed with the lack of activity for THE HORROR #6 ("Ben Hargreeves" played by Justin H. Min), who only manifested at the end of the season, and I certainly hope to see more of his tentacally-ass in Season 2! The notion of live-octopus as a meal for Koreans suddenly became such a deliciously ironic-fun elbow-jerk, as far as I am concerned!
I am torn with the portrayal of Ellen Page as "Vanya Hargreeves" AKA THE WHITE VIOLIN #7 - on one hand the severed subtle presentation of a repressed character is sublime, and at the same time it felt utterly deadpan to a fault. I see more spirit in her role in the dismal "Flatliners" than I see here, FFS! Arguably her role is pretty plump here, presenting an entire arc of development, only to be underwhelmed as much as her violin playing skills. The only bright-light in her portrayal, was seeing her decked out in utterly handsome black-n-white, and eventually clad in all-white - which was visually stunning and a fun reminder of her comicbook appearance, but at the same time, another part of me went; "WTF Happened there?"
Yes I am nitpicking, but Vanya had the more delicious role to present, and I felt it hasd been somewhat squandered.
I actually liked the villain in "Leonard Peabody" (played by John Magaro) in the beginning, but eventually felt tiresome, but very relatable in the real world context, I have to admit, and a true threat without super-powers himself, in his continued manipulation of Vanya, which frankly made it more fun to watch, IMHO.
As "fun" as the roles of CHA-CHA and HAZEL had been (reminding me of the Angels in Preacher, down to Earth to recapture "Genesis"), the one-dimensional Cha-Cha (played by Mary J. Blige) elicited zero connection for me, but for HAZEL (played by Cameron Britton - whom I realised only half-way thru was the magnificent "Edmund Kemper" in the splendid "Mindhunter" Season 1) who had more to offer and entertain beyond wearing the mascot-heads, which in the end meant nothing of significance. Shown above is one of three "dancing" sequences in the entire 10-episode series.
Colm Feore's "Sir Reginald Hargreeves" was the cliched "eccentric father-figure" (transplantable with "Trevor Bruttenholm" from Hellboy), while Jordan Claire Robbins' "Grace" could have been more fun, but lacked the focus the principal characters were afforded, understandably so though. And while I had "expected" a more "robotic" presentation, in the end we got a sampling of a "Westworld"-styled arm-robot action? ~ Heh.
"Best Actor" among the whole lot? "POGO" the ape wearing a suit (Voiced in subtle effectiveness by Adam Godley). Go figure...
... and the characters bicker thru an intriguingly addictive 10 episoder, which I could decently devour within a somewhat full dedicated weekend, leaving folks with an open-ended climactic ending for which I WISH that there will be a second season for!
For the first few episodes, I had experienced a gnawing uncomfortable feeling, of remembering the comicbook source, and of anticipating characters and their quirks - which frankly annoyed me something fierce ... but sticking thru to the end, I had been pleasantly surprised - or as my FB friend Naen mentions: "The whole series is familiar but different." - and it is, for someone that recognises the original source material, and I personally welcomed the range beyond my nostalgic wants.
I can understand the various tangents and side-trips - that help develop and enrich the character - but they do not always succeed, IMHO (Case in point, Klaus' trip to Vietnam and back to the present in the Veteran's club, essentially selfishly pissing on other veteran's lives with his own experience). But understandably they may well be in service of the story, rather than my own personal expectations (:p). Ultimately this was a exceedingly decent story and show presented to the masses, and what I feel to be promising for more knowledgable fans, and I am alright with that.
And I realised the "story" was no longer as interesting as the characters themselves. Yes, the apocalypse will happen. Yes, there will always be a "Butterfly Effect", and yes, the future is inevitable, however way you might want to alter it. After being fed the world-ending calamities in nearly all super-powered-heroes-movies/projects, I am grateful that there isn't a laser-beam shot straight up in the sky that opened up a black hole of swirly colors!
The design and look of the series was excellent in my design-book, with care taken into replicating a specific vintage look juxtaposed with the modern trappings of the now (Oh I could go on forever, but not here... :p), with quite a heap knod to Wes Anderson films, I have to say! From even the hallways and staircases, to not least the dance sequence - a PERFECT Wes Anderson aesthetic (*What? You didn't watch "The Life Aquatic with Steve Zissou"???) No complaints here!
The music (OST by Jeff Russo), and retro song choices were excellent and spot-on (Hey, I remembered from my youth *cough*) - and somewhat realise this project had been predominantly geared towards my fellow age-group, rather than trying to appeal to the younger set, IMHO. Yes I am biased in this musical-period, and hide none of it BWAHAHAHAHAHAHAHAAAAAAA
Thanks to screenrant.com, we have the entire song list for the first season! I have not checked the authenticity, but that might be another post all-together on my TUNES TALK music blog, maybe one day....
The Kinks - "Picture Book" - The babies arrive at the Academy.
Fitz and the Tantrums - "The Walker" - The Umbrella Academy deals with the bank robbers.
Tiffany - "I Think We're Alone Now" - The Academy members dance to Luther's record.
They Might Be Giants - "Istanbul (Not Constantinople)” - The donut shop fight scene.
EPISODE 2: "RUN BOY RUN"
Woodkid - "Run Boy Run" - Five runs back to the Academy.
Adam Ant - "Goody Two Shoes" - Klaus gets high.
Queen - "Don't Stop Me Now" - Five fights Hazel and Cha-Cha.
Paloma Faith - "Never Tear Us Apart" - Five finds his siblings in the apocalypse.
EPISODE 3: "EXTRA ORDINARY"
The Yardbirds - "Lost Woman" - Vanya writes her book.
The Hollies - "We're Through" - Hazel and Cha-Cha arrive at the Academy.
Nina Simone - "Sinnerman" - The Academy fights Hazel and Cha-Cha.
EPISODE 4: "MAN ON THE MOON"
Morcheeba - "Blood Like Lemonade" - Luther's morning routine.
Tom Swoon - "Shingaling" - Hazel and Cha-Cha get high and start a fire.
David Gray - "This Year's Love" - Diego finds Patch at the motel.
EPISODE 5: NUMBER FIVE
Noel Gallagher's High-Flying Birds - "In The Heat of the Moment" - Five in the apocalypse.
Big Thief - "Mary" - Klaus returns on the bus.
Don McGinnis - "Memory Bound" - Klaus and Diego fight at the VFA.
The Turtles - "Happy Together" - Ending montage.
EPISODE 6: "THE DAY THAT WASN'T"
The Doors - "Soul Kitchen" - Klaus and Dave go dancing.
Toploader - "Dancing in the Moonlight" - Allison and Luther dance.
Gin Wigmore - "Kill of the Night" - Five intercepts the message.
EPISODE 7: "THE DAY THAT WAS"
Gerard Way - "One" - Harold's backstory is revealed.
Radiohead - "Exit Music (For a Film)" - Ending montage.
EPISODE 8: "I HEARD A RUMOR"
Lena Thorne - "Stormy Weather" - Allison tells Claire a story.
Mary J. Blige - "Stay With Me" - Cha-Cha searches the donut shop.
Hooverphonic - "Mad About You" - The Academy find Allison at the cabin.
EPISODE 9: "CHANGES"
Traditional French Children's Song - "Lundi Matin" - Seven refuses to eat oatmeal.
Lesley Gore - "Sunshine, Lollipops and Rainbows" - Hazel and Cha-Cha fight.
Smith Westerns - "All Die Young" - Five takes Dolores home.
EPISODE 10: "THE WHITE VIOLIN"
Heart - "Barracuda" - Vanya returns to her apartment.
Bay City Rollers - "Saturday Night" - The bowling alley shoot-out.
Gerard Way (feat. Ray Toro) - "Hazy Shade of Winter" - End credits.
Meanwhile, ending this with Gerard Way's cover of "Hazy Shade of Winter" (feat. Ray Toro), and highly recommend this for folks looking for something slightly different from your usual genre tv (something which is about to, and am changing with "Deadly Class", "The Boys" etc), something "off-center", stylistically fun with a heavy dose of retrolicious, a somewhat indie-movie feel that is a marriage of serious apocalyptical death and FUN, complete with musical sequences to delight, and tons of bullets and explosions - courtesy of Hazel, Cha-Cha and Number Five. A "Salvation" is in order for this season, and I am grateful I had a chance to witness it. ENJOY!
