Watchable on Netflix, StackTV, OUTtv June 20 to 26, 2022

SHOW OF THE WEEK: The Umbrella Academy (June 22, Netflix)

One of the things I’ve always liked about “The Umbrella Academy” is that its stepsibling protagonists are more superhuman than superhero.

Sure, saving the world is pretty nifty, but it’s the human flaws and foibles in these six characters (seven including dead brother Ben, played by Justin H. Min) that have kept me watching. So the good news is that, despite being embroiled in yet another apocalyptic scenario in Season 3, the brothers and one sister of “The Umbrella Academy” (more on that later) are still very much a screwed-up family of misfits who happen to have superpowers.

In fact, this season ramps up the emotional stakes for our characters who, as the episodes begin, are just back from their near-death experience in 1963 and missing the people they left behind in that timeline. And, as we saw in the Season 2 finale, their home is no longer their home and Reginald Hargreeves (Colm Feore) is no longer their father, having adopted a different group of seven superpowered children named the Sparrow Academy.

Unfortunately, the Sparrows aren’t there to do much more than be antagonists to the Umbrellas for the first few episodes — the season opener includes both an entertaining dance-off and an epic fight in which the Umbrellas get their asses handed to them — and to bring back Ben.

Aside from Ben and sister Sloane (Genesis Rodriguez), the six Sparrow brothers and sisters, and one cube, are mostly presented as personality-free villains. While the Umbrellas’ ghost version of Ben finally passed on to the afterlife in Season 2, the Sparrows’ Ben is very much alive but a real asshole.

Speaking of assholes, Allison (Emmy Raver-Lampman) undergoes a character transformation I really didn’t like. After leaving her beloved husband Ray (Yusuf Gatewood) in the 1960s, Allison learns that the daughter for whom she returned to the present is no longer part of her timeline. Her grief turns her into a gratuitously violent monster who focuses most of her rage on her brother Viktor, formerly her sister Vanya.

Yes, “The Umbrella Academy” acknowledges the coming out of Canadian actor Elliot Page as a transgender man by having Viktor undergo his own transition into his true self, which is handled with class and grace.

Viktor’s story arc is one of the most satisfying things about the new season as the angry, abused sibling of seasons past becomes a force for good, trying to make amends for the lives he’s taken.

The other star of the season is Tom Hopper, who displays a radiant sweetness and deep humanity as his character, Luther, finds love.

Diego (David Castaneda) reunites with Lila (Ritu Arya), who brings a visitor from her time travels, a kid named Stan (Javon “Wanna” Walton); Klaus (Robert Sheehan) manages to bond with Reginald, although it involves a typically abusive manipulation on Reggie’s part; Number Five (Aidan Gallagher) is as amusing as always as he wearily tries to save the world all over again.

It seems the Umbrella Academy has triggered something called the “Grandfather Paradox” and there’s a menacing ball of light called a Kugelblitz in the basement of the academy that is dissolving the world piece by piece.

There’s also a secret mission that Reggie is bent on fulfilling, called Oblivion, one that caused him to part ways in the Sparrow timeline with his chimpanzee assistant Pogo (Adam Godley), whom Five tracks down.

There’s also a callback to Harlan, the kid that Viktor accidentally imbued with superpowers in Season 2, that plays into Viktor’s reclamation, Allison’s villainization and the world-threatening time paradox.

It’s a rollicking sometimes silly season with the standard blend of quirky comedy, darkness (and this season, it sometimes goes really dark) and a killer soundtrack.

For me, the show is always at its best when the Umbrella Academy gets to be a family, which it does in some cathartic ways here, but they never get to stay a family for long. So, after a frenetic finale involving an evil plan of Reggie’s, the timeline is reset — Season 4 has reportedly already got a green light — and it seems as though the stepsiblings will scatter once again.

Netflix has a lot of other stuff debuting this week, including the made-in-Toronto film “The Man From Toronto” (June 24), starring Kevin Hart and Woody Harrelson, and the docuseries “The Future Of” (June 21), a look at technological innovations that could change human life, while “Money Heist” fans will want to check out the spinoff “Money Heist: Korea – Joint Economic Area” on June 24.

Short Takes

Being BeBe (June 21, OUTtv.com; June 22, 9 p.m., OUTtv)

It’s easy to get swept up in the glamorous artifice of drag and forget that it’s a hard, and not always lucrative, way to make a living. The documentary “Being BeBe,” which highlights 15 years in the life of drag artist BeBe Zahara Benet, is clear-eyed about this reality. It show’s BeBe’s successes — winning the first “RuPaul’s Drag Race” in 2009, creating her show “Creature” in 2012, doing “Drag Race All Stars” in 2018, touring “Nubia” in 2020 with other Black “Drag Race” alumni — but also the low points, like having to move back to Minneapolis from Brooklyn when the stage show “Reveal” fails to make money. Obviously, the COVID-19 pandemic was one of the lowest as it left BeBe, real name Marshall Ngwa, unemployed just when he was expecting a breakout year career-wise. But Ngwa, interviewed by friend and filmmaker Emily Branham, is philosophical about the setback: he has had to hustle before to make a living; he will do so again. He also has the advantage of a loving, supportive family, not something to be taken for granted coming from Cameroon in Central Africa. Branham juxtaposes footage of BeBe, who refuses to categorize his sexuality, with interviews with young queer men and women still living in Cameroon, shunned by their families and at risk of violence, even murder, in a country in which homosexuality is prohibited by law and even ordering the wrong drink can result in a jail sentence. In that context, that BeBe can choose to make a career out of drag is a triumph apart from any financial and artistic rewards. “Drag Race” has gone some way to humanizing drag artists for the viewing public; “Being BeBe” gives us a more intimate look at one of its stars.

Queer as Folk (June 26, 9 p.m., Showcase/StackTV)

How do you reimagine “Queer as Folk,” the groundbreaking, sexually frank 1999 TV series about a group of gay men in Manchester? If you’re Canadian creator Stephen Dunn, you move it to vibrant New Orleans, expand its gaze to include non-white, transgender, non-binary and disabled characters, make the sex even more in your face and have your characters transformed by a tragedy. It’s no spoiler to say that the first episode of the new series includes a nightclub shooting inspired by the real-life slaughter at the Pulse bar in Orlando, Florida, in which 49 people died. The body count is mercifully lower in the show, which to its credit doesn’t dwell on the violence but on how its characters process it. And if you think that means just anger and sadness, think again. Lead character Brodie (Devin Way), for instance, decides the best way to honour a dead friend is to throw a big-ass party, turning ex-boyfriend Noah’s (Johnny Sibilly) spacious home into a makeshift nightclub he names Ghost Fag. Other key characters include Mingus (Fin Argus), a high school student and aspiring drag queen; Devin’s brother Julian (Ryan O’Connell), who has cerebral palsy; and his best friend Ruthie (Jesse James Keitel), a trans woman who’s just become a parent with her non-binary partner Shar (CG). Eric Graise adds snarky wit as Marvin, a bilateral amputee in a wheelchair; Armand Fields is wise drag mama Bussy; and ringers Kim Cattrall and Juliette Lewis play Brodie’s adoptive mother, Brenda, and Mingus’s mother, Judy. Yes, that’s a lot of characters, all with very distinctive arcs, and the show can be messy as it shifts from storyline to storyline, but these characters also really grow on you, at least in the four episodes I viewed. They can be selfish and self-defeating at times, but they represent a spectrum of queerness that’s so much more expansive than this series’ predecessor.

Odds and Ends

A couple of British detective series that I have personally enjoyed are back with new seasons. Season 3 of “Hidden” (June 20, Acorn) sees Welsh detectives Cadi John (Sian-Reese Williams) and Owen Vaughan (Sion Alun Davies) investigating two brothers after a body is found in a river. On BritBox, “Grace” returns for a second season on June 21, with Roy Grace (John Simm) and Glenn Branson (Richie Campbell) investigating several different murders from their home base of Brighton.

Apple TV+ has the comedy “Loot” (June 24), starring Maya Rudolph as a spurned wife who decides to try to use her billions for good.

Prime Video has “Chloe” (June 24), about a young woman’s obsession with a former friend she stalks on Instagram.

HBO and Crave have the true crime series “Mind Over Murder” (June 20, 10 p.m.) about six people convicted of killing a grandmother in Beatrice, Nebraska, in 1985 and later exonerated by DNA evidence.

NOTE: The listings here are in Eastern Standard Time and I’ve verified the times where possible, but it’s always best to check listings for your own area. The selection of programs reviewed reflects what I’m given access to by networks and streamers, whether reviews are embargoed, how many shows I have time to watch and my own personal taste. The Odds and Ends section includes shows that I have not watched.