With the must-watch ‘Demascus,’ Tubi rescues a reality-bending comedy

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The TV series “Demascus,” premiering on Thursday on Tubi, initially had AMC as its production base. However, despite the completion of a six-episode season, AMC decided not to air it. While I can’t delve into the reasons behind this decision – given my lack of insights into executive meetings and financial considerations – what I can say is that when it comes to the series’ quality, AMC seems to have made an error in judgment and Tubi appears to have made a wise choice.

The thought-provoking series “Hooded: Or Being Black for Dummies,” penned by playwright Tearrance Arvelle Chisholm, aligns itself with some of the most intriguing comedies from black creators over the past few years. These shows challenge convention by bending form, time, space, and reality – think “I’m a Virgo,” “Government Cheese,” “The Vince Staples Show,” “Atlanta,” as well as the animated series “Lazor Wulf” and “Oh My God … Yes!”. If one already feels detached from the norm, there might be less inclination to stick to safe choices. While this approach may not guarantee success in showbiz, it often leads to compelling outcomes.

In simpler terms, the character named Demascus, who is 33 years old and portrayed by Okieriete Onaodowan, considers himself to be in a significant year, referring to it as his “year of becoming a martyr.” He explains this to Dr. Bonnetville, played by Janet Hubert, as the story unfolds in a jungle-like setting, initially suggested to be real but later revealed as a virtual environment created by a Holodeck. The narrative takes place in an alternate version of 2023, which was the original year for the series’ premiere. This world features self-driving cars on the roads and a voice-activated assistant named Shekinah, played by Brie Eley, adding elements that set up the science-fiction theme of the show.

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As a cinephile, let me rephrase that for you: “No one seems to get me, my standout trait is my enigma,” Demascus confides in me. “I could be anyone or no one at all… Isn’t that an advantageous quality for a Black man? Yet, I often wonder if I truly know myself.

Bonnetville proposes that Damascus could be a potential fit for DIRT (Digital Immersive Reality Therapy), an innovative psychological virtual reality setup that tracks your conscious and unconscious impulses, enabling glimpses into alternate versions of yourself, albeit only as an observer. However, it’s worth noting that attempting to manipulate the narrative within this system could potentially alter one’s primary reality significantly.

The show deliberately muddies the waters regarding which reality is primary, leaving it unsettled and open to interpretation. The device serves as a convenient backdrop for episodes and segments set in various scenarios, each functioning independently as short stories while also contributing to a larger puzzle. Additionally, the main characters get to explore different roles within this setup, effectively playing multiple parts, much like a repertory company.

In his potential main world, Demascus is a government-employed graphic artist, currently working on a project to boost Black involvement in space exploration. This setting provides a basis for humorous office-related situations. His close friend, Redd (Caleb Eberhardt), serves as a public defender in Washington D.C., and may reoccur in different roles, such as being Demascus’ partner in one episode titled “Thanksgiving.” Demascus also has an uncle named Forty (Martin Lawrence) who fluctuates between dissolution and respectability, and occasionally he is joined by a sister, Shaena (Brittany Adebumola). Demascus is growing distant from his algorithm-matched girlfriend, Budhi (Sasha Hutchings), while developing feelings for Naomi (Shakira Ja’nai Paye), who appears in various roles such as an artist, a nun, and a psychiatric ward nurse. Their love story seems to span dimensions, a concept that could easily become excessive but instead feels charming.

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The show adopts various genres – a reality series about relationships, a melancholic Thanksgiving-themed sitcom at home, and a reinterpretation of “One Flew Over the Cuckoo’s Nest.” Despite alterations in Demascus’ appearance or occupation, he generally remains consistent as the environment transforms around him. He is the central character, essentially a good man with a touch of reservedness and self-doubt. His companions are vibrant, unpredictable figures who often find themselves on the receiving end of events rather than instigators, dealing with similar problems across different storylines. In conversation with Dr. Bonnetville, Demascus admits, “There are rules and I know some of them, but there are also rules that I don’t know, and they seem to keep changing.

The show, as reported in press materials, delves into the differences in perspectives among Black men. Given that it’s a culturally specific piece, it may resonate particularly with those who identify with these cultural aspects. However, much like great art often does, its messages transcend the artist’s original intent and can be understood by a wide range of sensitive individuals. “Demascus” isn’t confined to a particular location or argument; instead, it offers universal emotional experiences that anyone with a moderate level of empathy can relate to. Furthermore, the writing is crisp, intelligent, and authentic, while the direction skillfully molds and adapts to the evolving content without overpowering it. The performances across the board are exceptional.

After completing the sixth episode, titled “Season Two Prequel” (which followed the second-to-last episode named “Penultimate”), I found myself yearning for more, although whether there will be more given the series’ history of meandering in the wilderness is uncertain. A particular dialogue references the start, serving as a form of resolution, yet it feels like a circle that completes without advancing, and things are still different. It’s an ending that can be perceived as a beginning, much like the endings of fairy tales or romantic comedies. The finale is masterfully handled, with J. Cole’s “Love Yourz” providing a fitting soundtrack, emphasizing themes such as “No such thing as a life that’s better than yours” and “It’s beauty in the struggle.

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2025-08-07 13:31