Posts Tagged ‘Jon Briddell’

When last we saw him at the end of episode eleven of DC Universe’s original streaming series Doom Patrol, Joivan Wade’s Vic Stone was in a bad place — metaphorically and literally. His increasingly-mechanized body and mind betraying him, he made the drastic decision to part company with his operating system, known as GRID, but any monetary respite he hoped to gain from such an action was quickly dashed when he found himself captured by The Bureau of Normalcy and imprisoned at their top-secret research/torture facility nicknamed The Ant Farm.

Not that this latest installment, entitled (appropriately enough) “Cyborg Patrol,”gives any concrete reason as to how and why the place found itself saddled with such a moniker, unlike the Grant Morrison/Steve Yeowell comic the idea was lifted from, but the principle nature of the operation remains true to its printed-page antecedent — even if it’s located nowhere near the Pentagon, much less under it as it was the original story. Honestly, though, the name of the place is about all the television story borrows from the earlier newsprint one.

That’s because, as any veteran reader can tell you, the character of Cyborg was never actually in the Doom Patrol in the comics, and so there was never any call for the rest of the team to do what they do here, namely pull of a super-powered jailbreak. They all have a part to play in the plan hatched by Vic’s father, Silas (played, as ever, by the great Phil Morris) to spring his progeny, but that plan is complicated when the elder Stone turns traitor and hands the team over to agent Darren Jones (Jon Briddell) — or does he? Silas’ lack of loyalty, and the consequently shifting nature of his transactional allegiances, plays a major role in Robert Berens and Shoshana Sachi’s script for this episode, and the fundamental and well-earned lack of trust between Stones elder and younger proves to be fertile ground for psychological exploitation by Alan Tudyk’s Mr. Nobody, who makes a brief-but-devastating appearance (hey, he can’t spend all his time tormenting Timothy Dalton’s “Chief Niles Caulder, can he?) in the final few minutes here after Cyborg has fallen for a sick ruse that ends up having both drastic and unforgettable consequences.

Seriously, friends, the ending this week — it’s positively devastating.

Before that, though, we’ve got April Bowlby being smuggled into the facility in the weirdest manner possible by Brendan Fraser/ Riley Shanahan’s Cliff Steele, Diane Guerrero’s “Crazy” Jane going from taunting her psychotic captor, Agent Dirk Ellis (Mac Wells), before going all Karen on his ass and making him fall in love with her, Matt Bomer/Matthew Zuk’s Larry Trainor being separated from the “Negative Spirit” energy being that’s made itself at home in his body for the past few decades, and an army of sentient, hungry, toothy backsides running wild in The Bureau’s very own — and in many respects very peronal — house of horrors. It’s to director Carol Banker’s immense credit that she can have people running down the hallways screaming “the butts are loose!”one moment, and Vic’s horrifying realization that he’s done something he probably can’t undo less than ten minutes later, and compel viewers to fully invest in both. “Showrunner” Jeremy Carver certainly knows how to pick his directors, doesn’t he though?

And yeah — after a brief little blip on the radar screen, we’re back in “best episode to date” territory, which I predicted last time out would likely be the case — not to toot my horn too much. After all, it’s Carver, his cast, his writers , and his just-mentioned directorial hires that are doing all the real work here — fortunately for those of us in the audience, I hasten to add, as it’s all been uniformly pitch-perfect. Friends who may be turncoats who may be friends again after all, a young half-robotic man’s internal demons, a heaping dose of “high weirdness” for its own sake — really, how much more can you expect from television superhero yarn? Oh, and that guy in the cell next to Vic;, the one who’s portrayed by Devan Chandler Long? Something tells me he’s going to play a big part in events going forward — but for now I’m just content to give this episode a richly-deserved second viewing.


This review, and all others around these parts, is “brought to you” by my Patreon page, where I serve up exclusive thrice-weekly rants and ramblings on the worlds of comics, films, television, literature, and politics. Lately, in fact, it’s been a lot of politics. Your patronage there not only enables me to keep things going, it also ensures a steady supply of free content both here and at my fourcolorapocalypse comics site. You can join up for as little as a dollar per month, there’s tons of content posted on there already, and needless to say, I’d be very gratified to have your support.

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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?


This review, and all others around these parts, is “brought to you” by my Patreon page, where I serve up exclusive thrice-weekly offerings on the worlds of comics, films, television, literature, and politics. Lately, in fact, it’s been a lot of politics. Your patronage there not only keeps things going, it also ensures a steady supply of free content both here and at my fourcolorapocalypse comics site. It’s steadily filling up with a lot of writing, so you’re going to get good value for your dollar from day one, and needless to say, I’d be immensely grateful to have your support.

Oh, and I suppose a link would come in handy, so here you go :