If you’re searching for one thing totally different on tv, an unique bloom amid the countless rows of spider crops, the author and director Steven Conrad presents an fascinating case. His earlier sequence, dark-comic pastiches of the spy thriller (“Patriot”) and the up to date western (“Perpetual Grace Ltd.”), didn’t really feel unfamiliar, each as a result of they’re devoted to their sources and since there are many different high-concept style exercises on supply. On the opposite hand, Conrad is a proficient and distinctive author, and his reveals have had an idiosyncratic mixture of mournful humor and funky absurdism that has set them aside, and impressed a cultish devotion.
His third sequence, “Ultra City Smiths,” begins streaming its six-episode season Thursday on AMC+ (three had been out there for evaluate). It’s one other black-humor style piece, a neo-noir set in an alternate New York the place crime and corruption are somewhat extra ubiquitous and much more romantic than in actual life. But this time Conrad provides a number of extra layers of satirical distance. The cops, crooks, politicians and bystanders are moon-faced, plastic child dolls (aged up with wigs and magic-marker stubble), strolling the imply streets by way of stop-motion animation and delivering world-weary dialogue and expressions by way of digital results.
And every now and then they break into tune: A rookie detective does a soft-shoe whereas itemizing the sexual providers out there in several elements of city; a middle-aged hustler sings a plaintive ballad about his ailing lover.
There’s a plot having to do with the disappearance of an Ultra City tycoon and mayoral candidate (named Smith), which is investigated by the brand new detective and his veteran associate, and associated story strains involving a lady in debt to a gangster and a child deserted outdoors a police station. But the small print of the story are much more inconsequential than common for this sort of present. “Ultra City Smiths” is all about environment and tone, and about fond associations with an extended lineage of down-and-out, end-of-the-line New York tales like “Midnight Cowboy,” “Dog Day Afternoon” and “The Warriors.”
And it’s additionally about imaginative voice casting, starting with the endearing rasp of Tom Waits because the narrator, who ultimately reveals up onscreen working a newsstand. Various crack performers from Conrad’s earlier live-action sequence seem, together with Terry O’Quinn, Kurtwood Smith, Hana Mae Lee, Luis Guzmán, Damon Herriman (the hustler) and Jimmi Simpson (the rookie). They’re joined by a cadre of stars, and there are some genius selections, like Bebe Neuwirth as a solemn 280-pound skilled wrestler and the real-life couple Dax Shepard and Kristen Bell as a feckless politician and his spouse.
Before switching to TV, Conrad wrote options, together with wonderful screenplays like “The Pursuit of Happyness” and “The Secret Life of Walter Mitty.” Through these movies and thru “Patriot” and “Perpetual Grace,” you may hint some constant themes and motifs: fraught however loving relationships between fathers and sons; males involved with sustaining facades of normality; the values of patriotism and competence within the America of Reagan, Bush and Trump. What may have been cynical and self-righteous was rendered melancholic and acted out by way of light (if generally fairly violent) farce.
His new present doesn’t ask for that form of consideration, although it has an identical wistfulness and nostalgia. Conrad has demonstrated a keenness for card tips (in “Patriot”) and magic (a big plot level in “Perpetual Grace”), and in “Ultra City Smiths” he’s demonstrating his personal sleight of hand, conserving our eyes on the display with shadows, reminiscences and tough-talking dolls.