02/05/2026

LYFE SATURDAY | MAY 2, 2026

25

TV SHOW REVIEW

Ű BY AMEEN HAZIZI

S EASON four of Invincible leans further into the idea that the show is not just adapting the comics, but refining them. Under Robert Kirkman, this season feels more controlled in how it handles pacing and structure. The broad beats of the Viltrumite War arc remain, but the execution is cleaner. Some of the changes are small, but effective. Mark’s recovery on the deserted planet is shortened from 10 months in the comics to two here, which keeps the story moving without dragging the timeline. Tech Jacket being reworked into Zoe also feels like a sensible update, especially given how male-heavy the Coalition line-up was originally. Even smaller moments are reassigned in ways that fit the show better, such as shifting the “you got a beard” scene to Mark (Steven Yeun) and Oliver (Christian Convery). The result is a season that feels more focused. It does not wander as much and generally understands where to spend its time. Debbie carries emotional weight The strongest improvement remains Debbie. The show continues to expand her role beyond what the comics offered and season four gives her some of its most grounded scenes. Nolan’s return and his attempt at reconciliation do not play out as simple forgiveness arcs. There is tension, hesitation and a sense that not everything can be repaired. Sandra Oh anchors those moments. Her performance adds weight to every scene she is in, especially when Nolan (J.K. Simmons) tries to face what he has done. These interactions give the season a human core that cuts through all of the larger-scale conflict. Paul (Cliff Curtis) also benefits from a rewrite. Instead of being framed as an easy antagonist, he is presented as a decent person, which makes the end of that relationship feel abrupt rather than necessary.

Not so Invincible in space o Superhero series returns with cosmic stakes but lacklustre animation This season sees Nolan and Allen (Seth Rogen) assembling a roster of the galaxy’s strongest fighters to take the war directly to the Viltrumites. – ALL PICS FROM IMDB

little adjustment, feeling more like a forced plot device than a believable decision. Power scaling also continues to be inconsistent. Characters shift in strength depending on the needs of the scene. Nolan can devastate entire planets but struggles in smaller encounters. Mark can take on a Viltrumite-like Conquest, yet has difficulty with less powerful enemies. These inconsistencies weaken the internal logic of the story. There is also a broader limitation in how powers are used. Much of the cast operates within the same super strength and flight template, which makes the action feel repetitive. Characters with more distinct abilities rarely factor into major fights, leaving most conflicts to play out in similar ways. Series leaning into its drama The Guardians of the Globe feel less relevant than before. With key members such as Rex Splode gone, the team lacks a strong perspective or emotional anchor. Their repeated reliance on Invincible reduces their role in the story. By the finale, the season shifts its focus. Instead of escalating action, it leans into Mark’s mental state after the war. His trauma and lingering fear become central, offering a different kind of tension. Overall, season four is a stronger version of the original story in terms of writing and structure. It deepens key relationships and expands the world in meaningful ways. At the same time, its weak animation, uneven pacing in certain episodes and ongoing logic issues hold it back. It succeeds more as a character-driven drama than as a superhero action series, which defines its strengths and its limitations.

steps away from its main arcs. These detours slow momentum and do not offer enough in return. Action held back by animation The biggest issue remains the animation. Compared to the energy of the comics, especially the dynamic work of Ryan Ottley, the show often looks flat. What should feel fluid and explosive instead comes across like moving PNGs at times. Movement can feel stiff, with limited shading and basic compositions that do not fully capture the scale or intensity of the action. This becomes most obvious in the larger fight scenes. Battles that should feel overwhelming instead come across as weightless. Characters move in multiple directions, but the lack of impact reduces the tension. Space fights in particular suffer from this, often feeling repetitive and visually unengaging. This is where the gap between the show’s ambition and its execution is most visible. The writing builds up major confrontations, but the visuals do not always support them. Conquest and Kirkman’s recurring logic gaps Conquest (voiced by Jeffrey Dean Morgan) remains one of the season’s more effective antagonists. Even with limited screen time, he carries a strong presence and reinforces the threat level of the Viltrumites. Mark defeating him is a major moment, even if it nearly kills him. However, the way Kirkman writes around that moment highlights a recurring issue. Cecil’s (voiced by Walton Goggins) decision to leave someone such as Conquest insufficiently guarded is difficult to justify. This problem existed in the comics and carries over here with

entries, expanding on Nolan’s upbringing and the brutality of his society. Scenes showing his parents forcing him through a violent rite of passage establish the tone of that world immediately.

The Scourge Virus and the fall of Viltrum are also given more room to breathe. In the comics, these were compressed into brief explanations. Here, the destruction is shown more directly, which adds weight to the current conflict. Thaedus and Argall also benefit from this expanded approach. Their conflict, previously reduced to a few panels, is turned into a more defined turning point for the empire. The casting of Peter Cullen and Frank Welker who played Optimus Prime and Megatron respectively in the Transformers franchise adds an extra layer to those scenes. At the same time, the deeper look at Viltrumite society highlights how self-destructive it is. The constant purging and rigid hierarchy make the empire feel unstable by design. That contradiction becomes part of the story, even if it is not always fully addressed.

Stronger character work Nolan’s arc extends beyond Earth. His relationship with Oliver is given more attention, with Oliver’s resentment clearly defined and Nolan forced to earn his way back into his son’s life. This added friction helps both characters feel more complete. Oliver himself is a clear upgrade from his comic counterpart. In the source material, he often came off detached and at times unsettling. Here, he is more grounded and more connected to Earth. He still has an unusual perspective, but it is framed in a way that makes him engaging rather than off-putting. The same cannot be said for every relationship. Mark and Eve (Gillian Jacobs) remain underdeveloped. Despite being central to the story, their dynamic lacks depth. Most of their scenes revolve around shared responsibilities or surface-level

0 Cast: Steven Yeun, Sandra Oh,

J. K. Simmons, Gillian Jacobs, Walton Goggins, Seth Rogen, Jeffrey Dean Morgan, Cliff Curtis, Lee Pace,

Mark Hamill, Peter Cullen

0 Showrunner: Robert Kirkman

E-VALUE 6 ACTING

9

PLOT

8

Uneven additions, weak detours Not every new idea works. The Hell episode feels unnecessary. It does not add much to the main story and comes across as filler. Mark’s limited involvement in that plot also feels inconsistent with his usual character, especially given the scale of what is happening. The season occasionally struggles when it

conversations. There is little that defines their connection beyond that, which weakens some of the emotional beats later in the season. Viltrumite lore takes centre stage Where the season clearly improves on the comics is its handling of Viltrumite history. Episode two stands out as one of the strongest

Nolan (left) spends the season seeking redemption.

Grand Regent Thragg was bred to be the strongest Viltrumite.

Viltrumites have built an empire through conquest.