When season three wasn’t dishing out the most screamingly funny jokes of the show’s run, it was serving up some of its most wrenching drama. Brooke, meanwhile, spends the season demonstrating just how bad she can be in pursuit of doing “undeniable good.” In her calculation, the altruistic impact of a mental health telethon is so significant, and its potential to flatter her so vast, that she’ll keep it on track even if she needs to lock a COVID officer in a broom closet or insinuate that sexual abuse accusers were “asking for it.” (“Your brain really does go there!” she exclaims after hearing herself say the latter the way Yorke’s eyes bug out as she does so is a thing of beauty.)īut even as the Dubeks lost sight of who they are, The Other Two never did. Like Kendall Roy, he’s a character who can be pitiful when he’s down, but becomes outright loathsome when he’s up. The rush of self-importance precipitated by the role becomes part of Cary’s heel turn, as he frames himself as an icon of the LGBTQ community despite his total lack of knowledge about actual LGBTQ icons like Marsha P. As if to underline that very point, Disney’s first nonbinary character was revealed just days after the episode aired, in the form of a Globbishly translucent water entity in Pixar’s Elemental.
Cary’s first true taste of fame comes when he’s cast in an animated adventure as Globby, Disney’s “first-ever unapologetically gay character.” (As for what makes him gay at all, a studio exec points to a scene of two sexless snot balls and delivers the inane rationale that “If Globby were straight, he would be in bed with a human woman.”) For much of the episode, from Cary’s junket interviews to the ensuing flurry of Twitter hype, the storyline barely feels like an exaggeration of the press cycle around Beauty and the Beast‘s “exclusively gay moment” - or for that matter, Power Rangers’ and Star Trek’s and so on.
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That the series was so willing to go big and absurd made it all the more notable when it didn’t have to. Space-race billionaires, self-indulgent AIDS plays, do-nothing philanthropic organizations: All got their moment under the show’s withering gaze, in between note-perfect references to everything and everyone from Lukas Gage to Pleasantville. In one representative joke, we learn that Chase’s album didn’t flop because it was released the day of the insurrection the insurrection was engineered by his agent to distract from the awfulness of his album. But the third tilted over into 30 Rock-level absurdity, and in doing so delivered jabs sharp enough to draw blood. The Other Two has long enjoyed poking at the weirdness of Hollywood - like in a season-one visit to Justin Theroux’s over-the-top bachelor pad or a season-two field trip into a creepy Hillsong-esque celebrity church. But Cary enters the finale with plans to squeeze in an Oscar-bait drama before jetting off to shoot the next chapter of his sleeper-hit fantasy series, while Brooke prepares to accept a Peabody that will finally prove once and for all that she’s a good person.Īs the characters’ ambitions ramped up, so did the show’s humor.
Of course they’re still swallowing humiliations here and there - Cary spends a chunk of the first installment literally begging a masturbating stranger to stream his straight-to-HBO-Max indie instead of a porno, and Brooke spends the next delivering a flash drive she thinks contains a photo of Chase’s armpit. First, the show does them the extreme (and extremely amusing) disservice of giving them everything they’ve been striving for all along. Whatever their feelings about his career, it’s clear they care very much about him.īut it takes Brooke and Cary a while to find their way back to that place in season three.
Yet when Chase (Case Walker) comes to them in their hotel room, shyly asking if he can sleep in their bed, their snark melts into sincere curiosity and their sneers soften into smiles. The first-ever installment finds Cary, a struggling actor, and Brooke (Heléne Yorke), a former dancer, regarding their Bieberesque kid brother’s overnight success with a mix of envy, resentment and bafflement. Critic's Appreciation: Alan Arkin, King of Comforting Wryness (and That One Terrifying Jump Scare)īecause for all that The Other Two’s jokes have gotten most of the attention, its acerbic wit has been tempered by an underlying sweetness from the very start.
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