The moment Cootie steps onto Oakland’s bustling streets for the first time, towering over the city like a gentle skyscraper, Boots Riley‘s I’m a Virgo announces itself as something extraordinary. This isn’t just another coming-of-age story; it’s a surreal, anti-capitalist joyride wrapped in the guise of a superhero origin tale. Jharrel Jerome, known for his intense performances in Moonlight and When They See Us, delivers a revelation here, embodying the awkward innocence and quiet strength of a 13-foot-tall Black teenager discovering the world.

Riley’s direction is a masterclass in blending practical effects with stark social commentary. The use of miniatures and puppets for certain shots grounds the fantastical elements in a tactile reality, making Cootie’s gigantism feel almost plausible. The soundtrack by Riley’s group The Coup and the score by Tune-Yards pulsate through the series, amplifying its surreal energy. The episodes shot on location in Oakland add an authentic grit to the narrative, contrasting sharply with the polished, corporate aesthetic of Walton Goggins’ superhero alter ego, The Hero.

The supporting cast is a treasure trove of talent. Olivia Washington brings a magnetic charm as Flora, her super speed sequences shot with a kinetic energy that’s exhilarating to watch. Brett Gray’s Felix, obsessed with his car, provides much-needed comedic relief, while Kara Young’s Jones grounds the group in political activism. The show’s many surreal touches add layers of absurdity that heighten the series’ satirical edge.

However, I’m a Virgo isn’t without its flaws. The narrative’s ambition sometimes outpaces its execution, leading to moments where the plot feels fragmented or rushed. The budget constraints that forced Riley to cut 40% of the script are occasionally evident, with some storylines feeling abruptly truncated. Additionally, while the surreal elements are largely successful, there are instances where the tone shifts can feel jarring rather than seamless.

Yet, despite these missteps, I’m a Virgo remains a compelling watch. Its heart lies in Cootie’s journey—a young man navigating love, friendship, and political awakening while confronting the contradictions of a world that both fascinates and frightens him. The series’ finale, where Cootie and his friends sabotage a power facility, is a climactic blend of action and social critique that stays true to Riley’s vision.

I’m a Virgo is a series that demands attention, not just for its unique premise but for its unflinching exploration of capitalism, race, and identity. It’s a testament to Boots Riley’s imaginative prowess and Jharrel Jerome’s captivating performance.

Comparisons to other works are inevitable. The surreal, dreamlike quality of I’m a Virgo invites parallels to the films of Terry Gilliam or the absurdist humor of Nathan for You. However, Riley’s series carves out its own niche, blending social commentary with a coming-of-age narrative in a way that feels fresh and urgent. The political themes are woven seamlessly into the fabric of the story, making it accessible to viewers who might not typically engage with anti-capitalist critiques.

The series is particularly effective in its portrayal of Oakland as both a backdrop and a character. The city’s vibrant culture and stark inequalities are on full display, providing a rich tapestry against which Cootie’s journey unfolds. This grounded setting serves as a counterpoint to the more fantastical elements of the story, creating a compelling tension that drives the narrative forward.

I’m a Virgo is for viewers who crave something different—those willing to embrace the surreal and the thought-provoking. It’s not a series for passive consumption; it demands active engagement with its themes and characters. For those who enjoy the works of Boots Riley, such as his debut feature Sorry to Bother You, or fans of socially conscious science fiction like Black Mirror or Love, Death & Robots, I’m a Virgo offers a unique and rewarding experience.

In conclusion, I’m a Virgo is a series that defies easy categorization. It’s a coming-of-age story, a superhero tale, a political satire, and a surreal comedy all rolled into one. Its strengths lie in its bold vision, compelling performances, and unflinching exploration of complex themes.