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US Air Date: October 12, 2021
Starring: Zackary Arthur, Devon Sawa, Jennifer Tilly
Network: Syfy & USA
Synopsis: After a vintage Chucky doll turns up at a suburban yard sale, an idyllic American town is thrown into chaos as a series of horrifying murders begin to expose the town’s hypocrisies and secrets. Meanwhile, the arrival of enemies — and allies — from Chucky’s past threatens to expose the truth behind the killings, as well as the demon doll’s untold origins as a seemingly ordinary child who somehow became this notorious monster.”
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TV’s reboot and revival craze is showing no signs of slowing down — they have to run out of old shows to redo at some point, right? Right?!? — and ABC’s new take on 
Switching to a Black family makes a lot of sense: It allows writer Saladin Patterson (Psych, The Bernie Mac Show) and executive producer Lee Daniels to put a spotlight on the racial turmoil in the 1960s that was reduced to just background noise in the original series. (I can’t remember: Was there ever even a Black character on The Wonder Years?) The pilot includes a few subtle nods to the racial divide: White kids don’t want to use the school’s water fountain after Dean and his Black friend use it, and Dean learns early on that even a routine traffic stop by the cops can be dangerous. But mostly, this Wonder Years steers well clear of addressing any complicated racial issues, content to just let them simmer quietly in the background. When Dean decides to set up an integrated Little League baseball game, for example, we’re expecting it to set off a powder keg of controversy — but instead, it goes off without a hitch.
of a focus on the parents than the original did… which is understandable, because Hill is so good here as dad Bill. He’s a music professor, a funk musician and an all-around cool dude (in fact, “Be cool” is a constant refrain of his), and Hill makes him a warm, magnetic presence from the very first frames. Fans of the original series will be bracing themselves for a sharp dramatic turn late in the pilot, and indeed, there is one — two, actually. But they just don’t pack the same emotional wallop that the pilot’s twist did.
But Yorick isn’t the main focus of Y: The Last Man, and frankly, he shouldn’t be. (This is a world now run by women, after all.) Diane Lane plays Yorick’s mother Jennifer Brown, an influential Congresswoman who becomes President of the United States after the line of succession is decimated. The resulting power vacuum creates a power struggle, leading to petty political squabbles with very high stakes, and Lane brings great gravitas and emotion to a tricky role. Yorick also has a sister named Hero, played by Goliath‘s Olivia Thirlby; in a clever twist, the virus gives her a free pass on a catastrophic mistake she made, but the immense guilt still haunts her. She’s paired up with her best friend, a trans male named Sam (The Fosters‘ Elliot Fletcher), as they search for a safe haven in a suddenly hostile world.
The subsequent episodes don’t quite live up to that promise, though. Oddly, the fact that only men were killed by the virus is rarely spoken aloud or considered. (That’s the show’s whole hook!) It frustratingly dodges interesting questions about gender and becomes generically post-apocalyptic at times, slipping into Walking Dead territory with humans looming as the biggest threat. It also has trouble maintaining narrative momentum: There are too many characters on too many separate side missions, and it relies on a few unlikely coincidences to force them to intersect. (Thirlby makes a big impression as Hero in the premiere, but then she inexplicably disappears for an entire episode, just when we were starting to get emotionally invested in her.) There’s a really good show somewhere in here, but it keeps getting bogged down by the weight of its own ambitions.