Posts Tagged ‘Tommy Snider’

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.

**************************************************************************

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 keeps things going, it also ensures a steady supply of free content both here and at my fourcolorapocalypse comics site. I recently lowered the minimum-tier pricing to a dollar a month, so come on — what have you got to lose? There’s a ton of stuff up on there already, and needless to say, I’d be very gratified to have your support,

Oh, and I suppose a link would come in handy. Here you go :https://www.patreon.com/fourcolorapocalypse

 

 

The end, as they say, is nigh.

It’s been quite the first season for the DC Universe original streaming series Doom Patrol, has it not? And in the next-to-last (and fourteenth) episode, appropriately titled “Penultimate Patrol,” we’re treated to the return of old friends (Danny The Street) and old foes (Tommy Snider’s cringe-worthy, and now apparently reformed, Beard Hunter), but by and large the focus here is on the team — and, yes, now it really is a team — and the culmination of their own personal journeys, quite literally.

Yes indeed, everything “showrunner” Jeremy Carver has been building toward reaches a customarily-bizarre crescendo here, with Alan Tudyk’s Mr. Nobody being treated/subject to some revelatory period-piece “backstory” of his own here (superbly realized by director Rebecca Rodriguez) before placing each of our “Doom Patrolers” at the precise moment before the accidents/incidents that changed their lives and offering them, in a very real sense, a “do-over.” In other words, that newly-realized sense of resolve they’ve all got? It’s sorely put to the test here.

Notably absent from the inter-dimensional brouhaha (arrived at by — uhhmmm — unique means courtesy of Devan Chandler Long’s Flex Mentallo, who accidentally gives our heroes, and everyone else “on” Danny, an orgasm first) is Joivan Wade’s Vic Stone, who’s in for a historical re-write himself, courtesy of his barely-conscious father, Silas (played, as ever, by consummate pro Phil Morris), who reveals that the memories swirling in his son’s mind aren’t necessarily what really happened.

Which, as things turn out, ends up being something of a running theme here, but to say any more about that would probably be to say too much. What I can safely reveal is that if you think Mr. Nobody is dispatched too easily when the time comes, you’re absolutely right, and the “happy return” of Timothy Dalton’s “Chief” Niles Caulder comes with quite a price, as he’s forced to re-live a tragedy of his own — and, frankly, everyone else’s — again and again.

And again.

And again.

Until —

Yeah, the ending. That ending. The one I said I’d keep mum on, and shall. The one that ties into the episode’s over-arching theme of memory — or at least perceived memory — not being what it’s cracked up to be. But “cracking” may be precisely what’s in store for April Bowlby’s Rita Farr, Diane Guerrero’s “Crazy” Jane, Brendan Fraser/Riley Shanahan’s Cliff Steele, and Matt Bomer/Matthew Zuk’s Larry Trainor. We shall see.

Granted, those familiar with the Grant Morrison/Richard Case run on the comic will be far less shocked by the revelation/twist in question than those coming in to the series “cold,” but my money is on you grizzled vets still being surprised by the tonal difference that comes part and parcel with its, for lack of a better term, “TV version,” and will be equally confounded/intrigued by the possibilities it presents for next week’s big finale.

And, yeah, it’s definitely going to be big. I don’t do the whole “breathless with suspense” thing too often when it comes to television, but the next seven days can hurry up and fly right by as far as I’m concerned.  This has been a heck of a ride, and it’s all set up for a heck of a finish.

The end may indeed be nigh — but all indications are that Carver and company are determined to go out with a very loud bang.

*******************************************************************************

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 keeps things going, it also ensures a steady supply of free content both here and at my fourcolorapocalypse comics site. I recently lowered the minimum-tier pricing to a dollar a month, and given that there’s a lot of stuff up on there already, you’re sure to get excellent value for your money. Needless to say — but I’ll say it anyway — I’d be very gratified to have your support.

Oh, and I suppose a link would come in handy. Here you go :https://www.patreon.com/fourcolorapocalypse

 

 

With “Hair Patrol.” the tenth episode of the DC Universe original streaming series Doom Patrol, “showrunner” Jeremy Carver and co. have decided to go back and fill in some of the blanks — not only in terms of what everyone else got up to while Brendan Fraser/Riley Shanahan’s Cliff Steele and Diane Guerrero’s “Crazy” Jane were struggling to find their way out of the tormented and fragmented subconscious of one Kay Challis, but in a larger sense. As in — what, exactly, is the deal with Timothy Dalton’s “Chief” Niles Caulder?

Not that Eric Dietel’s script gives away all the answers, of course — not even close — but in the wilds of the Yukon Territory way back in 1913, Caulder had a life-changing experience. One that ties him in with an earlier version of the Bureau Of Normalcy, sees him match wits with a colleague-turned-enemy named Alistair (played by one of television’s most ubiquitous and competent guest stars, Max Martini), revolves around a literal “Bearded Lady” who calls herself Oyewah (Pisay Pao, who turns in a killer performance), and may just go some way toward explaining why, with the exception of Joivan Wade’s Vic Stone, everybody on this show is so damn old — most notably, of course, Caulder himself. To say any more would be to say too much, but the roughly half of this episode that takes place in the past is positively gripping, and gives us our most extended look at Dalton/Caulder yet — it may even be too close a look, given we see him drop his trousers behind a tree to take a shit just before the metaphorical shit hits the fan.

As for the other half of director Salli Richardson-Whitfield’s superbly-paced-and-shot installment, the portion set in the present day, it’s a fairly loose adaptation of Grant Morrison and one-off artist Vince Giarrano’s popular story “The Beard Hunter,” and to opine that Tommy Snider sinks his teeth into the role of  that yarn’s titular villain is this reviewer being frighteningly literal. If you think you’ve been physically repulsed by some stuff on this show, rest assured, it’s all minor-league compared to the follically-challenged mercenary’s — uhhmmm — unique method of tracking his prey. He’s a fuck-up, sure, but he’s a fuck-up who manages to get the upper hand on the duo of Vic and April Bowlby’s Rita Farr (they’re really turning into quite the semi-regular pairing) while Cliff, Jane, and Matt Bomer/Matthew Zuk’s Larry Trainor are all indisposed or otherwise down for the count. It’s funny stuff, no doubt about it — but with some seriously disturbing twists.

After last week’s unbelievably harrowing episode, some light-hearted comic relief was definitely in order, but there’s a lot more to “Hair Patrol” than that, given that “The Bureau” is getting more aggressive, Cyborg is getting more scary, the comic book brought back from Danny The Street contains a major hint about a certain fan-favorite character being just around the corner (you shouldn’t have to “flex” too hard to guess who that may be), and at the end of it all, we’re brought squarely back into the test-of-wills between The Chief and Alan Tudyk’s Mr. Nobody. So, yeah — everything but the kitchen sink this time out, and even that’s probably in there somewhere, as well.

As the end of this first season approaches, Carver is pretty (and, as it turns out, accurately) confident about the fact viewers are hooked — stories like this one are where the “reeling you in” part of the equation begins. If you can wait to see what happens next, trust me when I say you’re in the distinct minority of the audience.

Oh, and I sure as hell shaved as soon as I was finished watching this one. Made sure that I didn’t leave so much as a hair.

**************************************************************************************

This review, and all others around these parts, is “brought to you” by my Patreon site, 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 keeps things going, it also ensures a steady supply of free content both here and at my fourcolorapocalypse comics site. There’s a solid amount of material on there already, so you’re sure to get good value for your money, and needless to say, I’d be very gratified to have your support.

Oh, and I suppose a link would come in handy. Here yo go :https://www.patreon.com/fourcolorapocalypse