‘Wonder Man’ Review: Marvel’s Actor-Buddies Sitcom Is a Testament to Yahya Abdul-Mateen’s Star Power

Refreshingly secluded from the rest of the MCU, Andrew Guest and Daniel Destin Cretton's limited series — about a struggling actor who's too ashamed of who he is to find the character(s) he needs to be — is a meta charmer powered by two beaming leads.

Hollywood loves to put on a show about Hollywood. “Barry,” “Hacks,” and “The Studio” are just a few recent favorites, racking up glowing reviews, 35 Emmy wins, and… some viewers. Sure, meta comedies about moviemaking may not match the ratings of medical dramas or medieval fantasies, but that only makes Marvel‘s decision to focus their latest “superhero” series on a struggling actor who befriends another struggling actor all the more curious.

Do genre fans accustomed to CGI space battles and extended easter-egg hunts want to spend four hours watching a non-blue Dr. Manhattan pal around Los Angeles with Sir Ben Kingsley? Will they tolerate an entire episode dedicated to recording a single self-tape? Do they even know what a self-tape is? (For those who don’t, it’s an audition you record yourself — very popular, somewhat controversial.)

Well, whether “Wonder Man” is a savvy business decision isn’t my judgment to render, but having seen the full eight-episode season, it’s a surprisingly solid show — earnestly invested not only in its characters but in their work, and refreshingly siloed from the typical MCU hullabaloo (which dragged down so many prior Disney+ shows, Marvel has all but abandoned its serialized slate).

Best of all, Andrew Guest and Daniel Destin Cretton’s limited series is dependent on and a showcase for its two leads in ways previous Marvel projects only pretended to be. This isn’t a case where a couple of affable actors prop up a lousy tentpole, like when Hugh Jackman came back from the dead to legitimize “Deadpool vs. Wolverine,” or when “Captain America: Brave New World” focused on Harrison Ford because it didn’t have anything better to do. “Wonder Man” celebrates actors to such an extent it nearly disappears into its own ring light, but thanks to Yahya Abdul-Mateen II and Ben Kingsley, the one-off sitcom flies high enough to admire these heroes and their story.

Simon Williams (Abdul-Mateen) is having a tough day. His big new gig on “American Horror Story” doesn’t go as planned. (Thanks again, Ryan Murphy.) His girlfriend dumps him and leaves him with an empty apartment that could use some repairs. So, like Don Draper before him, Simon heads to the movies to clear his head. And since he’s a serious actor (not a half-drunk marketing executive), he drops in one of Hollywood’s old movie-houses for a screening of “Midnight Cowboy.”

There, watching Jon Voight and Dustin Hoffman graciously disappear into their oddball roles, Simon finds peace. He’s transported back to his childhood, when his dad would sneak him out of school for a day at the cinema. And then, back in the present, he’s introduced to Trevor Slattery (Kingsley), a fellow thespian who’s also a deep admirer of John Schlesinger’s X-rated classic chronicling an unlikely friendship between two down-on-their luck dudes.

Although Simon would never guess from Trevor’s chipper demeanor, the experienced performer isn’t having the best time himself. You see, years ago, when Trevor was at his lowest, he took a job playing The Mandarin, a terrorist leader whose ominous messages and malicious threats were used as cover for far worse behavior by a far more serious menace. (See: “Iron Man 3.” But also, you know, don’t.) He was a patsy, in short, but he was too drunk and drugged to realize it. After sobering up in prison, Trevor escaped to help Shang Chi (see: “Shang-Chi and the Legend of the Ten Rings,” which is actually OK) and start his personal rehabilitation process.

…except the U.S. government claims he hasn’t paid his debt — not in full — so at the start of “Wonder Man,” an agent from the Department of Damage Control (played by “Succession’s” Arian Moayed) blackmails Trevor into spying on a new potential danger to society: Simon.

That’s right: Simon has superpowers — powers he doesn’t fully understand and desperately wants to keep hidden, but the DoDC doesn’t care about that. They only care that he can create explosions out of thin air and make the earth quake with his mind. (Good thing he lives in California!). Agent Cleary wants Trevor to keep tabs on Simon, learn as much as he can, and bring him in as soon as possible.

Thus, a buddy comedy is born. Trevor forges a bond with Simon through their shared love of acting, even concocting a scheme to get them into the same audition: a remake of the ’80s movie “Wonder Man,” in which Simon would play the titular lead (the studio is looking for a “new face”) and Trevor would play his best friend.

It’s no accident that “Wonder Man,” the make-believe movie, and “Wonder Man,” the Disney+ series, share a premise. Co-creators Guest (who serves as head writer) and Cretton (who directs the first two episodes) rely on those meta dynamics to flesh out their story: When Simon and Trevor work on scenes together, their emotions are right at the surface. The audience doesn’t have to make a big leap to see the personal experience they’re drawing from, or — more importantly — to appreciate how their shared art-form (acting) helps them become better people who lead better lives.

Investing in what they do and how it shapes who they are is critical, and while “Wonder Man” can get a little bogged down in actor-speak, it’s still a sincere testimonial to the profession’s purest intentions. The series roots itself in the dilemma of chasing fame vs. staying true to yourself, and Guest wisely broadens that Hollywood-centric focus to emphasize more relatable aspects of the journey: Simon isn’t a crude glory-hound; he’s not obsessed with finding his good side or building up social media followers. He’s dedicated to the work. He just… might be too dedicated, and discovering why he’s so eager to disappear into someone else’s life, while still being seen by millions and millions of people, is the key to unlocking his full potential.

Abdul-Mateen plays Simon’s internal struggle perfectly. In lesser hands, this guy could’ve easily been a dick. He’s self-centric and friendless. He’s full of himself but far from self-sufficient, and he’s easily blinded by the trappings of his industry. Other actors with Abdul-Mateen’s wide smile, soft voice, and broad shoulders may have just leaned on their looks to cover up their character’s least-likable moments — as if gobs of charm in one scene can erase the ugliness glimpsed in others. (Attention other actors: This never works! Don’t do it!)

But Abdul-Mateen, who certainly has the screen presence to get away with a lot, instead recognizes all of Simon’s layers at once. He’s suave when he’s being pushy. He’s trapped in his own head even when he’s talking to other people. And his selfishness doesn’t stem from greed or ego; it’s forced on him by the work he does and part of him since he was much, much smaller. Even before you understand Simon, you can see what makes him tick, and that’s a huge credit to Abdul-Mateen.

Not everything in “Wonder Man” makes as much sense. For a show that claims to know Hollywood as well as this one, there are a number of all-too-convenient gaffes. The pacing isn’t always smooth, and a departure episode doesn’t fully justify its running time — not when it means leaving out Abdul-Mateen and Kingsley (the latter of whom is having a ball). Still, considering the MCU slop we’ve been getting lately, or even taking “Wonder Man” on its own (as the “Marvel Spotlight” designation at the top of each episode suggests), it’s a clear step in the right direction. Two great performances and a series, an actual series, that supports them both — what an idea!

Grade: B

“Wonder Man” premieres Tuesday, January 27 on Disney+. All eight episodes will be released at once.