Archive for April 11, 2019

Wow. Some TV episodes work, and then some — really work. And “Danny Patrol,” the eighth installment of the DC Universe streaming series Doom Patrol, most definitely does the latter.

Hewing reasonably close to its Grant Morrison/Richard Case comic book “source material,” there are key distinctions made to the story’s printed-page progenitor that, if anything, make it an even stronger piece of work, and for that, all credit to returning writer and director Tom Farrell and Dermott Downs, respectively, as well as to “showrunner” Jeremy Carver, who is doing a great job of setting a tone best described as “faithful but innovative” for this entire shebang. But enough with the praise, let’s talk specifics.

A sentient, non-binary street named Danny, home to outcasts of every stripe, is being hunted by a top-secret government agency known as the Bureau Of Normalcy, overseen by the ruthlessly square Darren Jones (played with relish by Jon Briddell), who first sends in his deputy, Morris Wilson (Alan Mingo Jr.), to scout things out, only to have him disappear “into” Danny and re-emerge as her — the “her” in question being drag diva par excellence Maura Lee Korrupt, quite possibly the greatest name for a television character, like, ever.

Mingo delivers the standout performance of the episode, but credit where it’s due to the regulars, as well : Matt Bomer/Matthew Zuk’s Larry Trainor, who has a history with the Bureau, is our focal point among the core cast this time out, both in past and present, and as his sidekick, Joivan Wade’s Vic Stone makes a terrific foil/fish out of water. They find Danny when they go looking for a cake shop that  left a delivery for Timothy Dalton’s still-missing “Chief” Niles Caulder (Dalton still carries a title credit in his absence, as does Alan Tudyk, although Mr. Nobody is nowhere to be found, either), but with the living street’s friend (how they know each other is shrouded, as ever, in mystery) MIA, our not-quite-ready-to-be-dynamic duo will have to do in a pinch, it seems.

Why only the two of them? I’m glad you asked —

April Bowlby’s Rita Farr and Brendan Fraser/Riley Shanahan’s Cliff Steele are looking to fish Diane Guerrero’s “Crazy” Jane out of her “Karen” persona, who is “enjoying” a falsified — hell, make that forced — state of domestic bliss with a poor sap named Doug (Brent Bailey), an on-again/off-again flame who can’t resist her charms mainly because she offers him no choice. Enter plenty of 1990s “rom-com” references and a laugh-out-loud scene ripped right from The Notebook — as in, the sappy movie. But the page-tearing metaphor works taken in, or out of, any context, I suppose. Downs and his actors absolutely nail it, trust me, but that goes for every aspect of this sub-plot, which ends up having tragic consequences and setting the stage for next week’s story.

Fans of Cliff might be a bit dismayed by his limited “screen time” in this one, it’s true, but he gets arguably the best scene of all doing a dance-off against a neighborhood kid — although, who knows? Larry and Mora doing a karaoke duet to Kelly Clarkson might have it beat. And the same could possibly be said for the big Mora/Darrin throw-down. It’s so hard to choose.

So, yeah, in case you couldn’t already tell, we’re going to close with yet another “best episode to date” verdict here, which is probably sounding like a broken record at this point, but damn — the truth is the truth, and who am I to bullshit you just for the sake of finally saying something different?

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