Archive for May 26, 2019

Okay, so if you said you just knew the first season of the DC Universe original streaming series Doom Patrol was going to come down to a battle royale between giant mutated versions of the Curtis Armstrong-voiced Ezekiel the cockroach and Robotman’s rat nemesis Admiral Whiskers, you’d be lying — and yet here it is, the fifteenth and final episode of the first season, titled “Ezekiel Patrol,” delivers an ending no one could have predicted after an entire run of episodes loaded with “no one could have predicted.”

There’s more to it, of course : there’s the missing backstory that fleshes out the massive, and ugly, revelation laid on the team at the close of last week by Timothy Dalton’s “Chief” Niles Caulder; the uneasy detente achieved between Joivan Wade’s Vic Stone and his father, Silas (portrayed as ever by veteran hand Phil Morris); the failed attempt at a “normal” life undertaken — and subsequently given up on — by April Bowlby’s Rita Farr and Matt Bomer/Matthew Zuk’s Larry Trainor; the descent into addiction and self-negation (or should that be selves-negation?) by Diane Guerrero’s “Crazy” Jane while Brendan Fraser/Riley Shanahan’s Cliff Steele stands watch as her ultimately powerless protector; the possible end of the road for Tommy Snider’s Beard Hunter on Danny the Street; the emptiness of the hollow “victory” achieved by Alan Tudyk’s Mr. Nobody and his subsequent attempt to get the “one-up” on his mortal foe yet again; the return of Alimi Ballard’s Joshua Clay in a new context; the return of Jane “alters” Hammerhead and Penny Farthing in the same context — goddamn, but there’s a lot to unpack in this “committee-written” script by Tamara Becher-Wilkinson, Shoshona Sachi, and “showrunner” Jeremy Carver, is there not?

Mostly, though, it’s all about answering the question of how and even if the team moves forward now that they know they’ve all been betrayed by the man they trusted more than anyone. The man who brings them all back together for one final mission that involves a last-second nod to Grant Morrison and Richard Case’s “The Painting That Ate Paris” storyline — minus anything to do with Paris. Director Dermott Downs makes it all work, somehow, and even if the “method” of entering the painting is less than satisfying, everything else — including the method of getting back out — surely is.

But, really, who can ignore the low-rent Kaiju fireworks? I know I couldn’t, and roach vs. rodent was an absolute blast.

We’re all set up for season two, if DC wants to do it : a familiar name to readers of the comic, presented within the framework of an astonishingly different “secret origin,” is certainly a tantalizing note to close things on, and we still haven’t gotten to the bottom of Jane’s “Psycho Cyborg” painted premonition, nor witnessed the hopefully-inevitable tussle with the Animal-Vegetable-Mineral Man, nor seen the title of “General” placed in front of the word “Immortus” yet. I get the feeling there’s plenty to come — we’re all just waiting on word of an official renewal.

But hey, you know what? Enough with the speculation. What we know we got was the best season of super-hero television ever made — hell, arguably one of the best seasons of any kind of television, period. There’s no shame in wanting more — the ecstatic critical and fan reception to this first run practically guarantees it, anyway — but until that happy day arrives, I think a “binge” of season one would be a welcome way to eat up just about any weekend. Carver and his cohorts are free to take a bow anytime they wish; they’ve certainly earned it.

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