There was an unforgettable moment in the first episode of Julio Torres’ new surreal delight Fantasmas that stood out as a defining shift. Torres climbs into a Chester (think Lyft, but driven by a twink with amazing hair named Chester) and finds an episode of Melf playing on the screen mounted at the back of the driver’s seat. Initially, it seems like a quirky aside where Paul Dano and Sunita Mani portray parents in an Alf-style parody featuring a puppet alien, Melf, who joins their family.
As the jaunty jingle ends, the viewers continue to dwell in this bizarre reality. Over time, a rift forms in the sitcom family as Melf and Paul Dano’s character realize a mutual attraction, leading to an affair that splits the family. When I saw Melf comforting one of Dano’s children after an argument, I realized this sketch could encompass layers upon layers of narrative potential.
In Fantasmas, now streaming on Max, Torres creates an atmosphere akin to his previous oddity, Los Espookys. His signature blend of sharp satire and dream logic transforms episodes into fever dreams tenderly cushioned by empathy and magical realism. Each sketch contributor acts like its own nook or cranny of an entrancing metropolis dreamt into existence.
The show begins with a whimsical pitch meeting at Crayola’s dimly lit offices where employees are engrossed in discussions about colors. Torres pitches a new clear crayon, but Crayola execs suggest renaming it from ‘Fantasmas’ to ‘Fantasma,’ noting that “it’s not like the red crayon is called ‘reds.’” This moment subtly lean into a fourth-wall awareness that’s characteristic of Torres’ work.
One particularly enchanting sequence features Torres dressed as a wizard, sporting a long pointed hat while navigating rooms behind opened doors that reveal walls instead of exits. It’s a visual metaphor for life’s surreal absurdities—especially highlighted by his dream-like journey across vibrant New York City sets built entirely on sound stages.
A Unique Quest Within Fantastical New York
The quest central to Fantasmas involves Martine Gutierrez’s character Vanessja losing her oyster-shaped earring at a dance club. From this premise, Torres explores labyrinthine encounters with offbeat characters set within surreal vignettes occurring across an alternate version of New York. Each meeting offers its own distinctive style, much like individual threads connecting varied yet harmoniously cohesive sketches.
An instance depicting Steve Buscemi reimagines the alphabet hierarchy as artists—both mainstream and avant-garde—which evokes Torres’ previous comedy special My Favorite Shapes. By endowing each letter with unique artistic traits and emotional resonance, the sketch highlights Torres’ dedication to meticulous conceptual realization.
Crafting Melancholy Narratives Wrapped in Surrealism
Beneath its eccentric exterior, Fantasmas carries undertones of melancholy. In one instance, Torres dreams he’s trapped inside a room due to his tall conical hat impeding his exit through a doorframe. His whimsical attire—a robe adorned with doodles—contrasts starkly against colleagues outside wearing identical black puffer coats; conformity lingers beyond his door.
The Star Power Behind Fantasmas
The involvement of actress Emma Stone as one of several notable guest stars (alongside Dylan O’Brien, Steve Buscemi, Paul Dano) further affirms Fantasmas’ imaginative allure. Stone’s consistent support for groundbreaking projects such as Nathan Fielder’s The Curse, or partnerships with Yorgos Lanthimos showcases her dedication to innovative storytelling.
Together these vignettes coalesce into profound narratives exploring themes like queer identity or societal conformity reminiscently approached by HBO’s Los Espookys. Masterfully crafted through vivid sketches embodying abstract emotions—and led by visionary creator Julio Torres—Fantasmas never ceases to captivate viewers seeking compelling parables intertwined within phantasmagorical settings.
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