In the first episode of Boots Riley's gloriously surreal TV series I’m a Virgo, "You a Big Muthaf***a," Cootie (Jharrel Jerome) is born. Exactly how such a huge baby came into the world is not shown. All we see is his aunt, Lafrancine (Carmen Ejogo), holding him with everything she's got. We also see her eyes are filled with concern (if not fear). Life in America is already hard enough for Black boys; it will be even harder for this Black freak of nature. Lafrancine and her husband Martisse (Mike Epps) secretly raise the boy in an Oakland house. They feed him, entertain him, love him, work hard for him. He grows into a 13-foot young man. One day Cootie leaves the house and discovers a world that's more upside down than his own. And that is a whole point of the series, which is comparable in richness and originality with Reservation Dogs

The function of surrealism in I’m a Virgo is explained when one considers the kind of society we live in. What does Cootie see outside of his house and during the course of the series' remaining six episodes? People who work in fast food joints for very low wages, profit-gobbling corporations that make life miserable for millions, white CEOs with, to use the words of "Rapper's Delight," "more money than a sucker could ever spend." This is the upside-down society that Cootie's aunt and uncle sheltered him from for as long as they could. Being a 13-foot Black teenager should, if the society was right side up, be more fantastic than a rich society that keeps a large number of its citizens in deep poverty. But it's not. And that's the point of Boots Riley's TV series, and also his 2018 film Sorry to Bother You. Capitalism is successful precisely because it looks more normal than Virgo's gigantic Cootie and his Bay Area, which has skyscrapers that rise and fall from the ground, houses on the highest of stilts, and billionaire superheroes.

Google translation:

If you are still hesitating whether to watch I'm a Virgo, I want to point out that there is a (voice) cameo by Slavoj Žižek and the whole thing in some places resembles an adaptation of one of his lectures on ideology in pop culture (but I understand that for many it will be the other way around [a] reason to avoid it).

What Žižek calls "ideology," Riley calls "propaganda," and, in Virgo, the fictional CEO of a comic book corporation, Jay Whittle (Walton Goggins), explains to his board that everything we see and hear all around us is nothing but propaganda. (Or, as Žižekian and Althusserian Marxism, borrowing from Lacanian psychoanalysis, ideology—I call it cultural.) There is no direct access to reality, and so it is not so much that there is real outside of capitalism's propaganda/ideology. We are always already in some form of propaganda. Cootie learns something of this when he attempts to liberate Oakland by destroying an electrical plant run by a hyper-greedy corporation: simple re-inversion doesn't work. Yes, capitalism is inverted (upside down), in the sense that it makes things more important than people. But correcting this bizarre inversion will not place you outside of ideology. At the center of Riley's brilliant imagination is this understanding.